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Meskimmon’s research brings together recent and contemporary transnational art practices, decolonial feminisms and ecological thinking. She has been a Visiting Fellow at the Humanities Research Centre at the Australian National University, the Universities of Cape Town and Gothenburg and the Center for Advanced Studies in the Visual Arts at the National Gallery of Art in Washington DC. In 2022-3, Meskimmon will be Visiting Professor at Stockholm University. She was the 2023 recipient of the College Art Association Distinguished Feminist Scholar award.<br /><br />Meskimmon’s central research project at present is a Trilogy, Transnational Feminism and the Arts, published by Routledge. The first two volumes have now been published: Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections (2020) and Transnational Feminisms and Art’s Transhemispheric Histories: Ecologies and Genealogies (2023). The final volume, due to appear in 2025, will explore transnational feminisms and planetary aesthetics.<br /><br />Earlier publications include the authored volumes, The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century (1996), We Weren't Modern Enough: Women Artists and the Limits of German Modernism (1999), Women Making Art: History, Subjectivity, Aesthetics (2003), Contemporary Art and the Cosmopolitan Imagination (2010), and Drawing Difference: Connections between Gender and Drawing (co-authored with Phil Sawdon, 2016).  Co-edited anthologies include Visions of the Neue Frau: Women and the Visual Arts in Weimar Germany (with Shearer West, 1995), Breaking the Disciplines: Reconceptions in Knowledge, Art and Culture (with Martin L Davies, 2003), Women, the Arts and Globalisation: Eccentric Experience (with Dorothy Rowe, 2013), Home/Land: Women, Citizenship, Photographies (with Marion Arnold, 2016) and Art, Borders and Belonging: On Home and Migration (with Maria Photiou, 2021). <br /><br />In addition to books and articles, Marsha has been involved with various curatorial projects since her time as a doctoral candidate, including Domesticity and Dissent: The Role of Women Artists in the Weimar Republic (Leicester, 1992), City Limits (Stoke-on-Trent, 1997) and the international ‘feminist blockbuster’ exhibition curated by Connie Butler, WACK! Art and the Feminist Revolution (2007). Most recently, Meskimmon was part of the scientific committee for the exhibition Empowerment: Art and Feminism curated by Andreas Beitin, Katharina Koch and Uta Ruhkamp at the Kunstmuseum Wolfsburg in 2022, and contributed to the accompanying publication. Meskimmon co-edits the series Rethinking Art’s Histories (with Amelia Jones) for Manchester University Press, and has been a member of the Editorial Board for Art History since 2018.<br /><b>Address: </b>The Institute of Advanced Studies, Loughborough University, Loughborough, Leicestershire, LE11 3TU, UK<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://utexas.academia.edu/GalenStrawson"><img class="profile-avatar u-positionAbsolute" alt="Galen Strawson" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" 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class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Authored Books" id="Authored Books"><h3 class="profile--tab_heading_container">Authored Books by Marsha Meskimmon</h3></div><div class="js-work-strip profile--work_container" data-work-id="94083895"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94083895/Transnational_Feminisms_and_Arts_Transhemispheric_Histories_Ecologies_and_Genealogies"><img alt="Research paper thumbnail of Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94083895/Transnational_Feminisms_and_Arts_Transhemispheric_Histories_Ecologies_and_Genealogies">Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies</a></div><div class="wp-workCard_item"><span>Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies, London and NY: Routledge</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocritical, feminist art’s histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds. <br /> <br />Engaging with the ecologies and genealogies – worlds and stories – that constitute the plural knowledge projects of transnational feminisms and art’s transhemispheric histories, the book is written through two critical figurations: transcanons and trans-scalar ecologies. Materializing art’s histories as radical practices of disciplinary disobedience, the volume demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art. <br /> <br />Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies is the second volume of Meskimmon's Trilogy on Transnational Feminisms and the Arts, published by Routledge. Further information on the volume can be found at: <a href="https://www.routledge.com/Transnational-Feminisms-and-Arts-Transhemispheric-Histories-Ecologies/Meskimmon/p/book/9781138579767" rel="nofollow">https://www.routledge.com/Transnational-Feminisms-and-Arts-Transhemispheric-Histories-Ecologies/Meskimmon/p/book/9781138579767</a> <br /> <br />The Introduction to the volume has been uploaded to Academia in the section: 'Introductions to Authored Books'</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94083895"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94083895"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94083895; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94083895]").text(description); $(".js-view-count[data-work-id=94083895]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94083895; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94083895']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94083895]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94083895,"title":"Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies","internal_url":"https://www.academia.edu/94083895/Transnational_Feminisms_and_Arts_Transhemispheric_Histories_Ecologies_and_Genealogies","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="64270862"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/64270862/Transnational_Feminisms_Transversal_Politics_and_Art_Entanglements_and_Intersections"><img alt="Research paper thumbnail of Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/64270862/Transnational_Feminisms_Transversal_Politics_and_Art_Entanglements_and_Intersections">Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections</a></div><div class="wp-workCard_item"><span>Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections, London and NY: Routledge</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This book explores the critical significance of the visual arts to transnational feminist thought...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This book explores the critical significance of the visual arts to transnational feminist thought and activism. <br /> <br />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. <br /> <br />Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections is the first volume of Meskimmon's Trilogy on Transnational Feminisms and the Arts, published by Routledge. Further information on the volume can be found at: <a href="https://www.routledge.com/Transnational-Feminisms-Transversal-Politics-and-Art-Entanglements-and/Meskimmon/p/book/9781138579743" rel="nofollow">https://www.routledge.com/Transnational-Feminisms-Transversal-Politics-and-Art-Entanglements-and/Meskimmon/p/book/9781138579743</a> <br /> <br />The Introduction to the volume has been uploaded to Academia in the section: 'Introductions to Authored Books'</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="64270862"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="64270862"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64270862; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=64270862]").text(description); $(".js-view-count[data-work-id=64270862]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 64270862; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='64270862']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=64270862]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":64270862,"title":"Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections","internal_url":"https://www.academia.edu/64270862/Transnational_Feminisms_Transversal_Politics_and_Art_Entanglements_and_Intersections","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17275695"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17275695/Contemporary_Art_and_the_Cosmopolitan_Imagination"><img alt="Research paper thumbnail of Contemporary Art and the Cosmopolitan Imagination" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17275695/Contemporary_Art_and_the_Cosmopolitan_Imagination">Contemporary Art and the Cosmopolitan Imagination</a></div><div class="wp-workCard_item"><span>Contemporary Art and the Cosmopolitan Imagination, London and NY: Routledge</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reco...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reconfiguring the political, ethical and social landscape of our time. Understanding art as a vital form of articulation, Meskimmon argues that artworks do more than simply reflect and represent the processes of transnational and transcultural exchange typical of the global economy. Rather, art can change the way we imagine, understand and engage with the world and with others very different than ourselves. In this sense, art participates in a critical dialogue between cosmopolitan imagination, embodied ethics and locational identity. <br /> <br />The development of a cosmopolitan imagination is crucial to engendering a global sense of ethical and political responsibility. By materialising concepts and meanings beyond the limits of a narrow individualism, art plays an important role in this development, enabling us to encounter difference, imagine change and make possible the new. This book asks what it means to inhabit a globalized world – how we might literally and figuratively make ourselves cosmopolitans, ‘at home’ everywhere. Contemporary art provides a space for this enquiry. <br /> <br />Contemporary Art and the Cosmopolitan Imagination is structured and written through four ‘architectonic figurations’ – foundation, threshold, passage and landing – which simultaneously reference the built environment and the transformative structure of knowledge-systems. It offers a challenging new direction in the current literature on cosmopolitanism, globalisation and art. <br /> <br />The Introduction to this volume has been uploaded to Academia under 'Introductions to Authored Books'</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17275695"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17275695"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17275695; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17275695]").text(description); $(".js-view-count[data-work-id=17275695]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17275695; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17275695']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17275695]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17275695,"title":"Contemporary Art and the Cosmopolitan Imagination","internal_url":"https://www.academia.edu/17275695/Contemporary_Art_and_the_Cosmopolitan_Imagination","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17275758"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17275758/Women_Making_Art_History_Subjectivity_Aesthetics"><img alt="Research paper thumbnail of Women Making Art: History, Subjectivity, Aesthetics" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17275758/Women_Making_Art_History_Subjectivity_Aesthetics">Women Making Art: History, Subjectivity, Aesthetics</a></div><div class="wp-workCard_item"><span>Women Making Art: History, Subjectivity, Aesthetics, London and NY: Routledge</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Women have been making art for centuries, yet their work has been seen as secondary or has gone u...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognised altogether. Women Making Art asks why this is so, and what it would take for us to realise the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilises contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasising the diversity of women's art and the importance of differences between women. <br /> <br />The Introduction to the volume has been uploaded to Academia under 'Introductions to Authored Books'.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17275758"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17275758"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17275758; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17275758]").text(description); $(".js-view-count[data-work-id=17275758]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17275758; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17275758']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17275758]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17275758,"title":"Women Making Art: History, Subjectivity, Aesthetics","internal_url":"https://www.academia.edu/17275758/Women_Making_Art_History_Subjectivity_Aesthetics","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94086797"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94086797/Drawing_Difference_Connections_Between_Gender_and_Drawing"><img alt="Research paper thumbnail of Drawing Difference: Connections Between Gender and Drawing" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94086797/Drawing_Difference_Connections_Between_Gender_and_Drawing">Drawing Difference: Connections Between Gender and Drawing</a></div><div class="wp-workCard_item"><span>Drawing Difference: Connections Between Gender and Drawing, London, NY and Dublin: Bloomsbury</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Drawing has been growing in recognition and stature within contemporary fine art since the mid-19...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Drawing has been growing in recognition and stature within contemporary fine art since the mid-1970s. Simultaneously, feminist activism has been widespread, leading to the increased prominence of women artists, scholars, critics and curators and the wide acknowledgement of the crucial role played by gender and sexual difference in constituting the subject. Drawing Difference argues that these developments did not occur in parallel simply by coincidence. Rather, the intimate interplay between drawing and feminism is best characterised as allotropic a term originating in chemistry that describes a single pure element which nevertheless assumes varied physical structures, denoting the fundamental affinities which underlie apparently differing material forms. The book takes as its starting point three works from the 1970s by Annette Messager, Dorothea Rockburne and Carolee Schneeman, that are used to exemplify critical developments in feminist art history and key moments for drawing as a means of expression.<br />Throughout the chapters, these works are further explored in relation to the contemporary drawing practices of Marco Maggi, Sian Bowen, Susan Hauptmann, Cornelia Parker, Christoph Fink and Toba Kheedori. Their works are shown to be (re)iterative sites where mark-making differs with each appearance yet retains certain essential features. Dividing its analysis into the themes Approaching, Tropes and Coinciding, the book analyses how both drawing and feminist discourse emphasise dialogue, matter and openness. It demonstrates how sexual difference, subjectivity and drawing are connected at an elemental level and thus how drawing has played a vital role in the articulation of the material and conceptual dynamics of feminism.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94086797"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94086797"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94086797; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94086797]").text(description); $(".js-view-count[data-work-id=94086797]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94086797; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94086797']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94086797]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94086797,"title":"Drawing Difference: Connections Between Gender and Drawing","internal_url":"https://www.academia.edu/94086797/Drawing_Difference_Connections_Between_Gender_and_Drawing","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17388966"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17388966/We_Werent_Modern_Enough_Women_Artists_and_the_Limits_of_German_Modernism"><img alt="Research paper thumbnail of We Weren't Modern Enough: Women Artists and the Limits of German Modernism" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17388966/We_Werent_Modern_Enough_Women_Artists_and_the_Limits_of_German_Modernism">We Weren't Modern Enough: Women Artists and the Limits of German Modernism</a></div><div class="wp-workCard_item"><span>We Weren't Modern Enough: Women Artists and the Limits of German Modernism, University of California Press</span><span>, 1999</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this book, Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Re...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this book, Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Republic and in the process reclaims the lost history of a number of artists who have not received adequate attention―not only because they were women but also because they continued to align themselves with the modes of realistic representation the Expressionists regarded as reactionary. Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles―prostitute, mother, housewife, the "New Woman" and "garçonne"―that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture―from film to poster art and advertising―to create a vivid portrait of women living and creating in Weimar Germany.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17388966"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17388966"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17388966; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17388966]").text(description); $(".js-view-count[data-work-id=17388966]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17388966; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17388966']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17388966]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17388966,"title":"We Weren't Modern Enough: Women Artists and the Limits of German Modernism","internal_url":"https://www.academia.edu/17388966/We_Werent_Modern_Enough_Women_Artists_and_the_Limits_of_German_Modernism","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17388964"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17388964/The_Art_of_Reflection_Women_Artists_Self_Portraiture_in_the_Twentieth_Century"><img alt="Research paper thumbnail of The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17388964/The_Art_of_Reflection_Women_Artists_Self_Portraiture_in_the_Twentieth_Century">The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century</a></div><div class="wp-workCard_item"><span>The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century, NY: Columbia University Press</span><span>, 1996</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Self-portraiture has long been a means for the male artist to assert an identity as masterful cre...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Self-portraiture has long been a means for the male artist to assert an identity as masterful creator or tortured soul; women have overwhelmingly been presented as objects, and rarely as subjects of self-portraiture. In recent years, however, women artists have used their work to disrupt this tradition. With 43 illustrations of works by Louise Bourgeois, Frida Kahlo, Alice Neel, Cindy Sherman, and Jo Spence, among others, "The Art of Reflection" is the first sustained inquiry into the appropriation of self-portraiture by women. In suggestive critical meditations on paintings, photographic work, sculpture, performance art, and body art, Marsha Meskimmon shows how twentieth-century women artists have undermined male-centered definitions of how "the artist" depicts the self.Drawing upon feminist theory and philosophy from Simone de Beauvoir to Luce Irigaray, "The Art of Reflection" casts doubt on the idea of self-portrait as a mirror, in which the static self is rendered accurately and naturalistically. Meskimmon evokes a series of myths about what an artist is, how "he" should be represented, and how "his" work is to be read as autobiography. Through close readings of the imaginative self-representations of women artists - as male artist and god, as central player in the studio and in the Christian passion - she shatters these myths. In an absorbing assessment of the ways women artists have negotiated the complex group of roles ascribed to "woman," Meskimmon considers the partially nude painting by pregnant artist Paula Modersohn-Becker and performance artist Annie Sprinkle's confrontation of the thin line between celebration of female sexuality and objectification of the female body. As a nuanced appreciation of the interpretations of self-portraiture among women artists, "The Art of Reflection" will prove an invaluable resource on a subject that has received little attention from art criticism. Meskimmon's work also presents a bold challenge to critical tradition, compelling readers to rethink the meaning of the genre as a whole.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17388964"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17388964"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17388964; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17388964]").text(description); $(".js-view-count[data-work-id=17388964]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17388964; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17388964']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17388964]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17388964,"title":"The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century","internal_url":"https://www.academia.edu/17388964/The_Art_of_Reflection_Women_Artists_Self_Portraiture_in_the_Twentieth_Century","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="52603339"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/52603339/Domesticity_and_Dissent_The_Role_of_Women_Artists_in_Germany_1918_to_1938"><img alt="Research paper thumbnail of Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/52603339/Domesticity_and_Dissent_The_Role_of_Women_Artists_in_Germany_1918_to_1938">Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938</a></div><div class="wp-workCard_item"><span>Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938, exhibition catalogue, Leicester</span><span>, 1992</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the catalogue to the exhibition Domesticity and Dissent, held at New Walk Art Museum in L...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the catalogue to the exhibition Domesticity and Dissent, held at New Walk Art Museum in Leicester in 1992. It was author-edited by Marsha Meskimmon, with a contribution by Martin L Davies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="52603339"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="52603339"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 52603339; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=52603339]").text(description); 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4935005]").text(description); $(".js-view-count[data-work-id=4935005]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4935005; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4935005']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=4935005]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4935005,"title":"Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck","internal_url":"https://www.academia.edu/4935005/Women_Artists_and_the_Neue_Sachlichkeit_Grethe_Jurgens_and_Gerta_Overbeck","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Edited Books" id="Edited Books"><h3 class="profile--tab_heading_container">Edited Books by Marsha Meskimmon</h3></div><div class="js-work-strip profile--work_container" data-work-id="94102550"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94102550/Art_Borders_and_Belonging_On_Home_and_Migration"><img alt="Research paper thumbnail of Art, Borders and Belonging: On Home and Migration" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94102550/Art_Borders_and_Belonging_On_Home_and_Migration">Art, Borders and Belonging: On Home and Migration</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarshaMeskimmon">Marsha Meskimmon</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://derby.academia.edu/MariaPhotiou">Maria Photiou</a></span></div><div class="wp-workCard_item"><span>Art, Borders and Belonging: On Home and Migration, London, NY and Dublin: Bloomsbury</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Art, Borders and Belonging: On Home and Migration investigates how three associated concepts-hous...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Art, Borders and Belonging: On Home and Migration investigates how three associated concepts-house, home and homeland-are represented in contemporary global art. The volume brings together essays which explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, home-makings, through which the construction of migratory narratives are made possible. Although centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, the contributions to this book also explore how curating and exhibition practices, at both local and global levels, can extend and challenge conventional narratives of art, borders and belonging. <br /> <br />A growing number of artists migrate; some for better job opportunities and for the experience of different cultures, others not by choice but as a consequence of forced displacement caused economic or environmental collapse, or by political, religious or military destabilization. In recent years, the theme of migration has emerged as a dominant subject in art and curatorial practices. Art, Borders and Belonging thus seeks to explore how the migratory experience is generated and displayed through the lens of contemporary art. In considering the extent to which the visual arts are intertwined with real life events, this text acts as a vehicle of knowledge transfer of cultural perspectives and enhances the importance of understanding artistic interventions in relation to home, migration and belonging.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94102550"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94102550"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94102550; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94102550]").text(description); $(".js-view-count[data-work-id=94102550]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94102550; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94102550']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94102550]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94102550,"title":"Art, Borders and Belonging: On Home and Migration","internal_url":"https://www.academia.edu/94102550/Art_Borders_and_Belonging_On_Home_and_Migration","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94102776"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94102776/Home_Land_Women_Citizenship_Photographies"><img alt="Research paper thumbnail of Home/Land: Women, Citizenship, Photographies" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94102776/Home_Land_Women_Citizenship_Photographies">Home/Land: Women, Citizenship, Photographies</a></div><div class="wp-workCard_item"><span>Home/Land: Women, Citizenship, Photographies, Liverpool: Liverpool University Press</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, comb...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography.<br /><br />Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.<br /><br />Home/Land: Women, Citizenship, Photographies demonstrates how women have used photographic practices to find places for themselves to belong as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94102776"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94102776"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94102776; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94102776]").text(description); $(".js-view-count[data-work-id=94102776]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94102776; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94102776']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94102776]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94102776,"title":"Home/Land: Women, Citizenship, Photographies","internal_url":"https://www.academia.edu/94102776/Home_Land_Women_Citizenship_Photographies","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94102917"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94102917/Women_the_Arts_and_Globalization_Eccentric_Experience"><img alt="Research paper thumbnail of Women, the Arts and Globalization: Eccentric Experience" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94102917/Women_the_Arts_and_Globalization_Eccentric_Experience">Women, the Arts and Globalization: Eccentric Experience</a></div><div class="wp-workCard_item"><span>Women, the Arts and Globalization: Eccentric Experience, Manchester: Manchester University Press</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Women, the arts and globalization: Eccentric experience is the first anthology to bring transnati...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Women, the arts and globalization: Eccentric experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94102917"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94102917"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94102917; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94102917]").text(description); $(".js-view-count[data-work-id=94102917]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94102917; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94102917']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94102917]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94102917,"title":"Women, the Arts and Globalization: Eccentric Experience","internal_url":"https://www.academia.edu/94102917/Women_the_Arts_and_Globalization_Eccentric_Experience","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="64270878"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/64270878/Breaking_the_Disciplines_Reconceptions_in_Knowledge_Art_and_Culture"><img alt="Research paper thumbnail of Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/64270878/Breaking_the_Disciplines_Reconceptions_in_Knowledge_Art_and_Culture">Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture</a></div><div class="wp-workCard_item"><span>Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture London, NY and Dublin: Bloomsbury</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">International scholars explore the ways in which knowledge actually operates, showing the limitat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">International scholars explore the ways in which knowledge actually operates, showing the limitations of now outmoded disciplines. Coming from fields as diverse as anthropology, philosophy, literature, aesthetics and art practice, together they break down the boundaries between entrenched domains of knowledge. Studies of objects which confound traditional definitions - including a mechanical cow invented by an Irish farmer, and the curious case of a mechanical monk - show how a close look at an individual object can, paradoxically, open up dynamic new "reconceptions" of traditional systems of knowledge. With social uses of knowledge currently a matter of public debate, this should be a timely text.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="64270878"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="64270878"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64270878; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=64270878]").text(description); 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=52603336]").text(description); $(".js-view-count[data-work-id=52603336]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 52603336; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='52603336']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="83827159"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/83827159/Introduction_Knowing_imagining_and_inhabiting_earth_wide_and_otherwise"><img alt="Research paper thumbnail of Introduction : Knowing, imagining and inhabiting – earth-wide and otherwise" class="work-thumbnail" src="https://attachments.academia-assets.com/96736959/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/83827159/Introduction_Knowing_imagining_and_inhabiting_earth_wide_and_otherwise">Introduction : Knowing, imagining and inhabiting – earth-wide and otherwise</a></div><div class="wp-workCard_item"><span>Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections, London and NY: Routledge</span><span>, Feb 28, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the Introduction to the volume, Transnational Feminisms, Transversal Politics and Art: En...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the Introduction to the volume, Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9c9e35d493478fdd8c3abbdc53061371" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96736959,"asset_id":83827159,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96736959/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="83827159"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="83827159"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 83827159; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94210744"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/94210744/_Introduction_Approaching_drawing_near"><img alt="Research paper thumbnail of [Introduction] Approaching: drawing near" class="work-thumbnail" src="https://attachments.academia-assets.com/96731781/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/94210744/_Introduction_Approaching_drawing_near">[Introduction] Approaching: drawing near</a></div><div class="wp-workCard_item"><span>Drawing Difference: Connections Between Gender and Drawing, London, NY and Dublin: Bloomsbury</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the Introduction to Drawing Difference: Connections Between Gender and Drawing, co-author...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the Introduction to Drawing Difference: Connections Between Gender and Drawing, co-authored with Phil Sawdon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5f0b931841ee287c1a48340b685a2afd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96731781,"asset_id":94210744,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96731781/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94210744"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94210744"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94210744; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="89016484"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/89016484/_Introduction_Contemporary_art_at_home_in_a_global_world"><img alt="Research paper thumbnail of [Introduction] Contemporary art: at home in a global world" class="work-thumbnail" src="https://attachments.academia-assets.com/96644008/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/89016484/_Introduction_Contemporary_art_at_home_in_a_global_world">[Introduction] Contemporary art: at home in a global world</a></div><div class="wp-workCard_item"><span>Contemporary Art and the Cosmopolitan Imagination, London and NY: Routledge</span><span>, Sep 13, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This book emerges from a conversation between fascination and paradox. Like many feminist scholar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This book emerges from a conversation between fascination and paradox. Like many feminist scholars engaged with modern and contemporary art practice, my thinking has been affected profoundly by feminist philosophy, most especially by work on embodied subjectivity, situated knowledge, ethics and aesthetics. My commitment to feminismintellectually, politically and personallygoes beyond a simple professional allegiance. It is more apt to say that I am fascinated by questions of sexual difference and their impact upon women's particular relationships to, and articulations of, knowledge, culture and meaning. This fascination has driven my research for more than two decades; through many and varied projects, I have sought to engage with the contingent, yet eloquent, interweaving of subjects, objects, spaces, materials and ideas that characterise the work of women making art. 1 An upshot of my research, and my awareness of that of many other feminist scholars, has been a developing sensitivity to places where sexual difference is of critical significance to the production of meaning and yet not signified. For instance, the ubiquitous focus on 'the body' in art and theory during the 1990s was linked only peripherally with the feminist practices that so clearly determined its contours. In the context of the present volume, it is equally clear that the domesticthe materials, tropes, images and spaces associated with 'home'occupies an important site within contemporary transnational art, yet the experimental work of feminist artists and scholars, from which it derives much of its force, is rarely acknowledged. While I am not suggesting that domesticity must be gendered feminine nor, indeed, approached only through a feminist trajectory or by women artists and scholars, there are definitive historical and conceptual links between women, the 'feminine' and the domestic that cannot be ignored in understanding the present predominance of this motif in contemporary art. More strongly, I would argue that feminist activist art practices (especially work from the 1960s and 1970s, not just in the dominant Euro-US centres, but on a truly international scale) brought attention to the materiality of domesticity, made it a focus for art/intervention, and enabled the more diverse practices that now delve into the question of home to be seen as 'worthy' of art making. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="64270876"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/64270876/Introduction_Home_Land_Homeland_and_Home_Land"><img alt="Research paper thumbnail of Introduction: Home, Land, Homeland and Home/Land" class="work-thumbnail" src="https://attachments.academia-assets.com/96755184/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/64270876/Introduction_Home_Land_Homeland_and_Home_Land">Introduction: Home, Land, Homeland and Home/Land</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarshaMeskimmon">Marsha Meskimmon</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarionArnold">Marion I Arnold</a></span></div><div class="wp-workCard_item"><span>Home/Land: Women, Citizenship, Photographies, co-edited with Marion Arnold, Liverpool: Liverpool University Press</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the Editorial Introduction to Home/Land: Women, Citizenship, Photographies, an extensive ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the Editorial Introduction to Home/Land: Women, Citizenship, Photographies, an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="3864079" id="authoredbooks"><div class="js-work-strip profile--work_container" data-work-id="94083895"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94083895/Transnational_Feminisms_and_Arts_Transhemispheric_Histories_Ecologies_and_Genealogies"><img alt="Research paper thumbnail of Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94083895/Transnational_Feminisms_and_Arts_Transhemispheric_Histories_Ecologies_and_Genealogies">Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies</a></div><div class="wp-workCard_item"><span>Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies, London and NY: Routledge</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocritical, feminist art’s histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds. <br /> <br />Engaging with the ecologies and genealogies – worlds and stories – that constitute the plural knowledge projects of transnational feminisms and art’s transhemispheric histories, the book is written through two critical figurations: transcanons and trans-scalar ecologies. Materializing art’s histories as radical practices of disciplinary disobedience, the volume demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art. <br /> <br />Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies is the second volume of Meskimmon's Trilogy on Transnational Feminisms and the Arts, published by Routledge. Further information on the volume can be found at: <a href="https://www.routledge.com/Transnational-Feminisms-and-Arts-Transhemispheric-Histories-Ecologies/Meskimmon/p/book/9781138579767" rel="nofollow">https://www.routledge.com/Transnational-Feminisms-and-Arts-Transhemispheric-Histories-Ecologies/Meskimmon/p/book/9781138579767</a> <br /> <br />The Introduction to the volume has been uploaded to Academia in the section: 'Introductions to Authored Books'</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94083895"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94083895"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94083895; 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94083895]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94083895,"title":"Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies","internal_url":"https://www.academia.edu/94083895/Transnational_Feminisms_and_Arts_Transhemispheric_Histories_Ecologies_and_Genealogies","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="64270862"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/64270862/Transnational_Feminisms_Transversal_Politics_and_Art_Entanglements_and_Intersections"><img alt="Research paper thumbnail of Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/64270862/Transnational_Feminisms_Transversal_Politics_and_Art_Entanglements_and_Intersections">Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections</a></div><div class="wp-workCard_item"><span>Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections, London and NY: Routledge</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This book explores the critical significance of the visual arts to transnational feminist thought...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This book explores the critical significance of the visual arts to transnational feminist thought and activism. <br /> <br />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. <br /> <br />Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections is the first volume of Meskimmon's Trilogy on Transnational Feminisms and the Arts, published by Routledge. Further information on the volume can be found at: <a href="https://www.routledge.com/Transnational-Feminisms-Transversal-Politics-and-Art-Entanglements-and/Meskimmon/p/book/9781138579743" rel="nofollow">https://www.routledge.com/Transnational-Feminisms-Transversal-Politics-and-Art-Entanglements-and/Meskimmon/p/book/9781138579743</a> <br /> <br />The Introduction to the volume has been uploaded to Academia in the section: 'Introductions to Authored Books'</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="64270862"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="64270862"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64270862; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=64270862]").text(description); $(".js-view-count[data-work-id=64270862]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 64270862; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='64270862']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=64270862]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":64270862,"title":"Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections","internal_url":"https://www.academia.edu/64270862/Transnational_Feminisms_Transversal_Politics_and_Art_Entanglements_and_Intersections","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17275695"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17275695/Contemporary_Art_and_the_Cosmopolitan_Imagination"><img alt="Research paper thumbnail of Contemporary Art and the Cosmopolitan Imagination" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17275695/Contemporary_Art_and_the_Cosmopolitan_Imagination">Contemporary Art and the Cosmopolitan Imagination</a></div><div class="wp-workCard_item"><span>Contemporary Art and the Cosmopolitan Imagination, London and NY: Routledge</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reco...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reconfiguring the political, ethical and social landscape of our time. Understanding art as a vital form of articulation, Meskimmon argues that artworks do more than simply reflect and represent the processes of transnational and transcultural exchange typical of the global economy. Rather, art can change the way we imagine, understand and engage with the world and with others very different than ourselves. In this sense, art participates in a critical dialogue between cosmopolitan imagination, embodied ethics and locational identity. <br /> <br />The development of a cosmopolitan imagination is crucial to engendering a global sense of ethical and political responsibility. By materialising concepts and meanings beyond the limits of a narrow individualism, art plays an important role in this development, enabling us to encounter difference, imagine change and make possible the new. This book asks what it means to inhabit a globalized world – how we might literally and figuratively make ourselves cosmopolitans, ‘at home’ everywhere. Contemporary art provides a space for this enquiry. <br /> <br />Contemporary Art and the Cosmopolitan Imagination is structured and written through four ‘architectonic figurations’ – foundation, threshold, passage and landing – which simultaneously reference the built environment and the transformative structure of knowledge-systems. It offers a challenging new direction in the current literature on cosmopolitanism, globalisation and art. <br /> <br />The Introduction to this volume has been uploaded to Academia under 'Introductions to Authored Books'</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17275695"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17275695"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17275695; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17275695]").text(description); $(".js-view-count[data-work-id=17275695]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17275695; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17275695']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17275695]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17275695,"title":"Contemporary Art and the Cosmopolitan Imagination","internal_url":"https://www.academia.edu/17275695/Contemporary_Art_and_the_Cosmopolitan_Imagination","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17275758"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17275758/Women_Making_Art_History_Subjectivity_Aesthetics"><img alt="Research paper thumbnail of Women Making Art: History, Subjectivity, Aesthetics" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17275758/Women_Making_Art_History_Subjectivity_Aesthetics">Women Making Art: History, Subjectivity, Aesthetics</a></div><div class="wp-workCard_item"><span>Women Making Art: History, Subjectivity, Aesthetics, London and NY: Routledge</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Women have been making art for centuries, yet their work has been seen as secondary or has gone u...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognised altogether. Women Making Art asks why this is so, and what it would take for us to realise the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilises contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasising the diversity of women's art and the importance of differences between women. <br /> <br />The Introduction to the volume has been uploaded to Academia under 'Introductions to Authored Books'.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17275758"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17275758"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17275758; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17275758]").text(description); $(".js-view-count[data-work-id=17275758]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17275758; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17275758']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17275758]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17275758,"title":"Women Making Art: History, Subjectivity, Aesthetics","internal_url":"https://www.academia.edu/17275758/Women_Making_Art_History_Subjectivity_Aesthetics","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94086797"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94086797/Drawing_Difference_Connections_Between_Gender_and_Drawing"><img alt="Research paper thumbnail of Drawing Difference: Connections Between Gender and Drawing" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94086797/Drawing_Difference_Connections_Between_Gender_and_Drawing">Drawing Difference: Connections Between Gender and Drawing</a></div><div class="wp-workCard_item"><span>Drawing Difference: Connections Between Gender and Drawing, London, NY and Dublin: Bloomsbury</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Drawing has been growing in recognition and stature within contemporary fine art since the mid-19...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Drawing has been growing in recognition and stature within contemporary fine art since the mid-1970s. Simultaneously, feminist activism has been widespread, leading to the increased prominence of women artists, scholars, critics and curators and the wide acknowledgement of the crucial role played by gender and sexual difference in constituting the subject. Drawing Difference argues that these developments did not occur in parallel simply by coincidence. Rather, the intimate interplay between drawing and feminism is best characterised as allotropic a term originating in chemistry that describes a single pure element which nevertheless assumes varied physical structures, denoting the fundamental affinities which underlie apparently differing material forms. The book takes as its starting point three works from the 1970s by Annette Messager, Dorothea Rockburne and Carolee Schneeman, that are used to exemplify critical developments in feminist art history and key moments for drawing as a means of expression.<br />Throughout the chapters, these works are further explored in relation to the contemporary drawing practices of Marco Maggi, Sian Bowen, Susan Hauptmann, Cornelia Parker, Christoph Fink and Toba Kheedori. Their works are shown to be (re)iterative sites where mark-making differs with each appearance yet retains certain essential features. Dividing its analysis into the themes Approaching, Tropes and Coinciding, the book analyses how both drawing and feminist discourse emphasise dialogue, matter and openness. It demonstrates how sexual difference, subjectivity and drawing are connected at an elemental level and thus how drawing has played a vital role in the articulation of the material and conceptual dynamics of feminism.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94086797"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94086797"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94086797; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94086797]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94086797,"title":"Drawing Difference: Connections Between Gender and Drawing","internal_url":"https://www.academia.edu/94086797/Drawing_Difference_Connections_Between_Gender_and_Drawing","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17388966"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17388966/We_Werent_Modern_Enough_Women_Artists_and_the_Limits_of_German_Modernism"><img alt="Research paper thumbnail of We Weren't Modern Enough: Women Artists and the Limits of German Modernism" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17388966/We_Werent_Modern_Enough_Women_Artists_and_the_Limits_of_German_Modernism">We Weren't Modern Enough: Women Artists and the Limits of German Modernism</a></div><div class="wp-workCard_item"><span>We Weren't Modern Enough: Women Artists and the Limits of German Modernism, University of California Press</span><span>, 1999</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this book, Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Re...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this book, Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Republic and in the process reclaims the lost history of a number of artists who have not received adequate attention―not only because they were women but also because they continued to align themselves with the modes of realistic representation the Expressionists regarded as reactionary. Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles―prostitute, mother, housewife, the "New Woman" and "garçonne"―that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture―from film to poster art and advertising―to create a vivid portrait of women living and creating in Weimar Germany.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17388966"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17388966"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17388966; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17388966]").text(description); $(".js-view-count[data-work-id=17388966]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17388966; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17388966']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17388966]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17388966,"title":"We Weren't Modern Enough: Women Artists and the Limits of German Modernism","internal_url":"https://www.academia.edu/17388966/We_Werent_Modern_Enough_Women_Artists_and_the_Limits_of_German_Modernism","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17388964"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17388964/The_Art_of_Reflection_Women_Artists_Self_Portraiture_in_the_Twentieth_Century"><img alt="Research paper thumbnail of The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17388964/The_Art_of_Reflection_Women_Artists_Self_Portraiture_in_the_Twentieth_Century">The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century</a></div><div class="wp-workCard_item"><span>The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century, NY: Columbia University Press</span><span>, 1996</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Self-portraiture has long been a means for the male artist to assert an identity as masterful cre...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Self-portraiture has long been a means for the male artist to assert an identity as masterful creator or tortured soul; women have overwhelmingly been presented as objects, and rarely as subjects of self-portraiture. In recent years, however, women artists have used their work to disrupt this tradition. With 43 illustrations of works by Louise Bourgeois, Frida Kahlo, Alice Neel, Cindy Sherman, and Jo Spence, among others, "The Art of Reflection" is the first sustained inquiry into the appropriation of self-portraiture by women. In suggestive critical meditations on paintings, photographic work, sculpture, performance art, and body art, Marsha Meskimmon shows how twentieth-century women artists have undermined male-centered definitions of how "the artist" depicts the self.Drawing upon feminist theory and philosophy from Simone de Beauvoir to Luce Irigaray, "The Art of Reflection" casts doubt on the idea of self-portrait as a mirror, in which the static self is rendered accurately and naturalistically. Meskimmon evokes a series of myths about what an artist is, how "he" should be represented, and how "his" work is to be read as autobiography. Through close readings of the imaginative self-representations of women artists - as male artist and god, as central player in the studio and in the Christian passion - she shatters these myths. In an absorbing assessment of the ways women artists have negotiated the complex group of roles ascribed to "woman," Meskimmon considers the partially nude painting by pregnant artist Paula Modersohn-Becker and performance artist Annie Sprinkle's confrontation of the thin line between celebration of female sexuality and objectification of the female body. As a nuanced appreciation of the interpretations of self-portraiture among women artists, "The Art of Reflection" will prove an invaluable resource on a subject that has received little attention from art criticism. Meskimmon's work also presents a bold challenge to critical tradition, compelling readers to rethink the meaning of the genre as a whole.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17388964"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17388964"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17388964; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17388964]").text(description); $(".js-view-count[data-work-id=17388964]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17388964; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17388964']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17388964]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17388964,"title":"The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century","internal_url":"https://www.academia.edu/17388964/The_Art_of_Reflection_Women_Artists_Self_Portraiture_in_the_Twentieth_Century","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="52603339"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/52603339/Domesticity_and_Dissent_The_Role_of_Women_Artists_in_Germany_1918_to_1938"><img alt="Research paper thumbnail of Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/52603339/Domesticity_and_Dissent_The_Role_of_Women_Artists_in_Germany_1918_to_1938">Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938</a></div><div class="wp-workCard_item"><span>Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938, exhibition catalogue, Leicester</span><span>, 1992</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the catalogue to the exhibition Domesticity and Dissent, held at New Walk Art Museum in L...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the catalogue to the exhibition Domesticity and Dissent, held at New Walk Art Museum in Leicester in 1992. It was author-edited by Marsha Meskimmon, with a contribution by Martin L Davies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="52603339"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="52603339"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 52603339; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=52603339]").text(description); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=52603339]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":52603339,"title":"Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938","internal_url":"https://www.academia.edu/52603339/Domesticity_and_Dissent_The_Role_of_Women_Artists_in_Germany_1918_to_1938","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="4935005"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/4935005/Women_Artists_and_the_Neue_Sachlichkeit_Grethe_Jurgens_and_Gerta_Overbeck"><img alt="Research paper thumbnail of Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/4935005/Women_Artists_and_the_Neue_Sachlichkeit_Grethe_Jurgens_and_Gerta_Overbeck">Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck</a></div><div class="wp-workCard_item"><span>Leicester University PhD Thesis</span><span>, 1992</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4935005"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4935005"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4935005; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4935005]").text(description); $(".js-view-count[data-work-id=4935005]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4935005; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4935005']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=4935005]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4935005,"title":"Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck","internal_url":"https://www.academia.edu/4935005/Women_Artists_and_the_Neue_Sachlichkeit_Grethe_Jurgens_and_Gerta_Overbeck","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="16781556" id="editedbooks"><div class="js-work-strip profile--work_container" data-work-id="94102550"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94102550/Art_Borders_and_Belonging_On_Home_and_Migration"><img alt="Research paper thumbnail of Art, Borders and Belonging: On Home and Migration" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94102550/Art_Borders_and_Belonging_On_Home_and_Migration">Art, Borders and Belonging: On Home and Migration</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarshaMeskimmon">Marsha Meskimmon</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://derby.academia.edu/MariaPhotiou">Maria Photiou</a></span></div><div class="wp-workCard_item"><span>Art, Borders and Belonging: On Home and Migration, London, NY and Dublin: Bloomsbury</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Art, Borders and Belonging: On Home and Migration investigates how three associated concepts-hous...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Art, Borders and Belonging: On Home and Migration investigates how three associated concepts-house, home and homeland-are represented in contemporary global art. The volume brings together essays which explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, home-makings, through which the construction of migratory narratives are made possible. Although centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, the contributions to this book also explore how curating and exhibition practices, at both local and global levels, can extend and challenge conventional narratives of art, borders and belonging. <br /> <br />A growing number of artists migrate; some for better job opportunities and for the experience of different cultures, others not by choice but as a consequence of forced displacement caused economic or environmental collapse, or by political, religious or military destabilization. In recent years, the theme of migration has emerged as a dominant subject in art and curatorial practices. Art, Borders and Belonging thus seeks to explore how the migratory experience is generated and displayed through the lens of contemporary art. In considering the extent to which the visual arts are intertwined with real life events, this text acts as a vehicle of knowledge transfer of cultural perspectives and enhances the importance of understanding artistic interventions in relation to home, migration and belonging.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94102550"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94102550"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94102550; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94102550]").text(description); $(".js-view-count[data-work-id=94102550]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94102550; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94102550']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94102550]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94102550,"title":"Art, Borders and Belonging: On Home and Migration","internal_url":"https://www.academia.edu/94102550/Art_Borders_and_Belonging_On_Home_and_Migration","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94102776"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94102776/Home_Land_Women_Citizenship_Photographies"><img alt="Research paper thumbnail of Home/Land: Women, Citizenship, Photographies" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94102776/Home_Land_Women_Citizenship_Photographies">Home/Land: Women, Citizenship, Photographies</a></div><div class="wp-workCard_item"><span>Home/Land: Women, Citizenship, Photographies, Liverpool: Liverpool University Press</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, comb...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography.<br /><br />Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.<br /><br />Home/Land: Women, Citizenship, Photographies demonstrates how women have used photographic practices to find places for themselves to belong as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94102776"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94102776"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94102776; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94102776]").text(description); $(".js-view-count[data-work-id=94102776]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94102776; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94102776']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94102776]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94102776,"title":"Home/Land: Women, Citizenship, Photographies","internal_url":"https://www.academia.edu/94102776/Home_Land_Women_Citizenship_Photographies","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94102917"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94102917/Women_the_Arts_and_Globalization_Eccentric_Experience"><img alt="Research paper thumbnail of Women, the Arts and Globalization: Eccentric Experience" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94102917/Women_the_Arts_and_Globalization_Eccentric_Experience">Women, the Arts and Globalization: Eccentric Experience</a></div><div class="wp-workCard_item"><span>Women, the Arts and Globalization: Eccentric Experience, Manchester: Manchester University Press</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Women, the arts and globalization: Eccentric experience is the first anthology to bring transnati...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Women, the arts and globalization: Eccentric experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94102917"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94102917"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94102917; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94102917]").text(description); $(".js-view-count[data-work-id=94102917]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94102917; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94102917']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94102917]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94102917,"title":"Women, the Arts and Globalization: Eccentric Experience","internal_url":"https://www.academia.edu/94102917/Women_the_Arts_and_Globalization_Eccentric_Experience","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="64270878"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/64270878/Breaking_the_Disciplines_Reconceptions_in_Knowledge_Art_and_Culture"><img alt="Research paper thumbnail of Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/64270878/Breaking_the_Disciplines_Reconceptions_in_Knowledge_Art_and_Culture">Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture</a></div><div class="wp-workCard_item"><span>Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture London, NY and Dublin: Bloomsbury</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">International scholars explore the ways in which knowledge actually operates, showing the limitat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">International scholars explore the ways in which knowledge actually operates, showing the limitations of now outmoded disciplines. Coming from fields as diverse as anthropology, philosophy, literature, aesthetics and art practice, together they break down the boundaries between entrenched domains of knowledge. Studies of objects which confound traditional definitions - including a mechanical cow invented by an Irish farmer, and the curious case of a mechanical monk - show how a close look at an individual object can, paradoxically, open up dynamic new "reconceptions" of traditional systems of knowledge. With social uses of knowledge currently a matter of public debate, this should be a timely text.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="64270878"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="64270878"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64270878; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=64270878]").text(description); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94210744"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/94210744/_Introduction_Approaching_drawing_near"><img alt="Research paper thumbnail of [Introduction] Approaching: drawing near" class="work-thumbnail" src="https://attachments.academia-assets.com/96731781/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/94210744/_Introduction_Approaching_drawing_near">[Introduction] Approaching: drawing near</a></div><div class="wp-workCard_item"><span>Drawing Difference: Connections Between Gender and Drawing, London, NY and Dublin: Bloomsbury</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the Introduction to Drawing Difference: Connections Between Gender and Drawing, co-author...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the Introduction to Drawing Difference: Connections Between Gender and Drawing, co-authored with Phil Sawdon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5f0b931841ee287c1a48340b685a2afd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96731781,"asset_id":94210744,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96731781/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94210744"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94210744"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94210744; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="89016484"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/89016484/_Introduction_Contemporary_art_at_home_in_a_global_world"><img alt="Research paper thumbnail of [Introduction] Contemporary art: at home in a global world" class="work-thumbnail" src="https://attachments.academia-assets.com/96644008/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/89016484/_Introduction_Contemporary_art_at_home_in_a_global_world">[Introduction] Contemporary art: at home in a global world</a></div><div class="wp-workCard_item"><span>Contemporary Art and the Cosmopolitan Imagination, London and NY: Routledge</span><span>, Sep 13, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This book emerges from a conversation between fascination and paradox. Like many feminist scholar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This book emerges from a conversation between fascination and paradox. Like many feminist scholars engaged with modern and contemporary art practice, my thinking has been affected profoundly by feminist philosophy, most especially by work on embodied subjectivity, situated knowledge, ethics and aesthetics. My commitment to feminismintellectually, politically and personallygoes beyond a simple professional allegiance. It is more apt to say that I am fascinated by questions of sexual difference and their impact upon women's particular relationships to, and articulations of, knowledge, culture and meaning. This fascination has driven my research for more than two decades; through many and varied projects, I have sought to engage with the contingent, yet eloquent, interweaving of subjects, objects, spaces, materials and ideas that characterise the work of women making art. 1 An upshot of my research, and my awareness of that of many other feminist scholars, has been a developing sensitivity to places where sexual difference is of critical significance to the production of meaning and yet not signified. For instance, the ubiquitous focus on 'the body' in art and theory during the 1990s was linked only peripherally with the feminist practices that so clearly determined its contours. In the context of the present volume, it is equally clear that the domesticthe materials, tropes, images and spaces associated with 'home'occupies an important site within contemporary transnational art, yet the experimental work of feminist artists and scholars, from which it derives much of its force, is rarely acknowledged. While I am not suggesting that domesticity must be gendered feminine nor, indeed, approached only through a feminist trajectory or by women artists and scholars, there are definitive historical and conceptual links between women, the 'feminine' and the domestic that cannot be ignored in understanding the present predominance of this motif in contemporary art. More strongly, I would argue that feminist activist art practices (especially work from the 1960s and 1970s, not just in the dominant Euro-US centres, but on a truly international scale) brought attention to the materiality of domesticity, made it a focus for art/intervention, and enabled the more diverse practices that now delve into the question of home to be seen as 'worthy' of art making. Yet the complex questions around sexed</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="883ce98617f7a32035cdd65cdc8b0892" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96644008,"asset_id":89016484,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96644008/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="89016484"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89016484"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89016484; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="83827150"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/83827150/Introduction_Art_Borders_and_Belonging_On_Home_and_Migration"><img alt="Research paper thumbnail of Introduction: Art, Borders and Belonging – On Home and Migration" class="work-thumbnail" src="https://attachments.academia-assets.com/96736714/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/83827150/Introduction_Art_Borders_and_Belonging_On_Home_and_Migration">Introduction: Art, Borders and Belonging – On Home and Migration</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarshaMeskimmon">Marsha Meskimmon</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://derby.academia.edu/MariaPhotiou">Maria Photiou</a></span></div><div class="wp-workCard_item"><span>Art, Borders and Belonging: On Home and Migration, London, NY and Dublin: Bloomsbury</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the Editorial Introduction from the volume Art, Borders and Belonging: On Home and Belong...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the Editorial Introduction from the volume Art, Borders and Belonging: On Home and Belonging.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="af302ea41a37ce9942119395827a20cb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96736714,"asset_id":83827150,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96736714/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="83827150"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="83827150"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 83827150; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="64270876"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/64270876/Introduction_Home_Land_Homeland_and_Home_Land"><img alt="Research paper thumbnail of Introduction: Home, Land, Homeland and Home/Land" class="work-thumbnail" src="https://attachments.academia-assets.com/96755184/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/64270876/Introduction_Home_Land_Homeland_and_Home_Land">Introduction: Home, Land, Homeland and Home/Land</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarshaMeskimmon">Marsha Meskimmon</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarionArnold">Marion I Arnold</a></span></div><div class="wp-workCard_item"><span>Home/Land: Women, Citizenship, Photographies, co-edited with Marion Arnold, Liverpool: Liverpool University Press</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the Editorial Introduction to Home/Land: Women, Citizenship, Photographies, an extensive ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the Editorial Introduction to Home/Land: Women, Citizenship, Photographies, an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography. Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doi...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d652c038e6cd26240b73c39df0d737ee" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96755184,"asset_id":64270876,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96755184/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="64270876"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="64270876"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64270876; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17275966"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17275966/Editorial_introduction_ec_centric_affinities_locations_aesthetics_experiences"><img alt="Research paper thumbnail of Editorial introduction: ec/centric affinities: locations, aesthetics, experiences." class="work-thumbnail" src="https://attachments.academia-assets.com/96755557/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17275966/Editorial_introduction_ec_centric_affinities_locations_aesthetics_experiences">Editorial introduction: ec/centric affinities: locations, aesthetics, experiences.</a></div><div class="wp-workCard_item"><span>Women, the Arts and Globalization: Eccentric Experience. co-edited with Dorothy Price (formerly, Rowe),Manchester: Manchester University Press,</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the co-authored introduction to the edited anthology Women, the Arts and Globalization: E...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the co-authored introduction to the edited anthology Women, the Arts and Globalization: Eccentric Experience. The full citation is: MESKIMMON, M. and ROWE, D.C., 2013. Editorial introduction: ec/centric affinities: locations, aesthetics, experiences. IN: Meskimmon, M.G. and Rowe, D.C. (eds). Women, the Arts and Globalization: Eccentric Experience. Manchester: Manchester University Press, 2013.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="96b544da4852d6a7572ffe44bce36bb1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96755557,"asset_id":17275966,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96755557/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17275966"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17275966"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17275966; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94219005"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/94219005/Editorial_Dialogue_from_Breaking_the_Disciplines_Reconceptions_in_Knowledg_"><img alt="Research paper thumbnail of Editorial Dialogue from Breaking the Disciplines Reconceptions in Knowledg.." class="work-thumbnail" src="https://attachments.academia-assets.com/96737074/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/94219005/Editorial_Dialogue_from_Breaking_the_Disciplines_Reconceptions_in_Knowledg_">Editorial Dialogue from Breaking the Disciplines Reconceptions in Knowledg..</a></div><div class="wp-workCard_item"><span>Breaking the Disciplines: Reconceptions in Knowledge, Art and Culture, London, NY and Dublin: Bloomsbury</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the Editorial Dialogue that introduces the volume Breaking the Disciplines: Reconceptions...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the Editorial Dialogue that introduces the volume Breaking the Disciplines: Reconceptions in Knowledge, Art and Culture, co-edited with Martin L Davies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d0bed6b2d19c0b68fc96f2eeddbb784c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96737074,"asset_id":94219005,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96737074/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94219005"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94219005"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94219005; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="856232" id="chaptersineditedbooks"><div class="js-work-strip profile--work_container" data-work-id="70054532"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/70054532/Art_Matters_Feminist_Corporeal_Materialist_Aesthetics"><img alt="Research paper thumbnail of Art Matters: Feminist Corporeal-Materialist Aesthetics" class="work-thumbnail" src="https://attachments.academia-assets.com/96654054/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70054532/Art_Matters_Feminist_Corporeal_Materialist_Aesthetics">Art Matters: Feminist Corporeal-Materialist Aesthetics</a></div><div class="wp-workCard_item"><span>A Companion to Feminist Art, edited by Hilary Robinson and Maria Buszek</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter explores some of the possibilities and challenges offered to aesthetics by the entan...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter explores some of the possibilities and challenges offered to aesthetics by the entanglement of corporeal feminisms with 'new' or 'vital' materialisms. Both corporeal feminisms and materialisms propose modes of thought that link bodies and matter to the production of knowledge and the affective acquisition and articulation of meaning. The chapter argues that aesthetics and art‐making are especially significant to a feminist corporeal‐materialist project in that they mobilise materiality, the senses and response‐ability towards engaged and ethical responsibility. A feminist corporeal‐materialist aesthetics moves away from representation towards figuration and thus shifts the methodological ground from reflection to diffraction. In addition to rethinking authorship and intentionality beyond dualism, diffraction as an embodied and enworlded method suggests that art‐making, as a form of material intra‐action, might acquire agency; the subjects and objects of art practices emerge intra‐actively at the point of the agential cut that forms both, over time as well as in space.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2d5b8a9be577d67d6b6ff53896776255" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96654054,"asset_id":70054532,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96654054/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70054532"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70054532"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70054532; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76388692"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/76388692/Transversal_dances_across_time_and_space"><img alt="Research paper thumbnail of Transversal dances across time and space" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/76388692/Transversal_dances_across_time_and_space">Transversal dances across time and space</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MonicaSand2">Monica Sand</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://lboro.academia.edu/MarshaMeskimmon">Marsha Meskimmon</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Transversal dances across time and space: Feminist strategies for a critical heritage studies</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76388692"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76388692"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76388692; 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The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography. Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doi...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="64270877"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="64270877"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64270877; 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The work, funded through a grant from the Japanese Government, was first shown at the Museum of Contemporary Art in Tokyo and then travelled to the Hiroshima City Museum of Contemporary Art. In Japan, the installation consisted of 20 sculpted male and female figures arranged facing forward in four rows of five,0 F 1 each bearing in their outstretched arms the traces of bodies, rendered palpable in, and by, the folds and contours of clothing. The figures that comprise this work are eloquent in their simplified rendering: their eyes look straight ahead, their mouths are held as if ready to speak and their arms gently bear the weight of absent bodies while they stand unwavering, present with us, in the space. The striking bodily gesture that is made by these figures as they give evidence can be described as an offering, an open gesture toward those who may respond. The figures neither raise their hands to threaten, avenge or admonish, nor fold their arms to protect or exclude. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="94114713"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94114713/The_Promise_of_Cosmopolitanism_Art_Ethics_and_Imagination_in_a_Global_World_a_positional_parlay_"><img alt="Research paper thumbnail of The Promise of Cosmopolitanism: Art, Ethics and Imagination in a Global World (a positional parlay)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94114713/The_Promise_of_Cosmopolitanism_Art_Ethics_and_Imagination_in_a_Global_World_a_positional_parlay_">The Promise of Cosmopolitanism: Art, Ethics and Imagination in a Global World (a positional parlay)</a></div><div class="wp-workCard_item"><span>Humanidades: Novo Paradigmas do Conhecimento e da Investigacao (Humanities: New Paradigms of Knowledge and Research), edited by Ana Gabriela Macedo, Carlos Mendes de Sousa, Vitor Moura Braga: Universidade de Minho</span><span>, 2013</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94114713"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94114713"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94114713; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94114713]").text(description); $(".js-view-count[data-work-id=94114713]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94114713; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94114713']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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Tauris</span><span>, 2012</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94114915"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94114915"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94114915; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94114915]").text(description); $(".js-view-count[data-work-id=94114915]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94114915; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94114915']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=94114915]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":94114915,"title":"Elaborate Marks: Gender° | Time’ | Drawing","internal_url":"https://www.academia.edu/94114915/Elaborate_Marks_Gender_Time_Drawing","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17275792"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17275792/Chronology_through_cartography_mapping_1970s_feminist_art_globally"><img alt="Research paper thumbnail of Chronology through cartography: mapping 1970s feminist art globally" class="work-thumbnail" src="https://attachments.academia-assets.com/40927024/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17275792/Chronology_through_cartography_mapping_1970s_feminist_art_globally">Chronology through cartography: mapping 1970s feminist art globally</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the link for my essay in WACK! MESKIMMON, M., 2007. Chronology through cartography: mappi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the link for my essay in WACK!<br />MESKIMMON, M., 2007. Chronology through cartography: mapping 1970s feminist art globally. IN: Butler, C. and Mark, L. (eds.) WACK! Art and the feminist revolution. Cambridge, MA and London: MIT Press, pp. 322-35.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="82568f9002ddb677e364699eb440b7da" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40927024,"asset_id":17275792,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40927024/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17275792"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17275792"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17275792; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17275865"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17275865/_And_the_one_doesn_t_stir_on_curatorial_practice_and_the_making_of_feminist_histories"><img alt="Research paper thumbnail of “And the one doesn’t stir...": on curatorial practice and the making of feminist histories" class="work-thumbnail" src="https://attachments.academia-assets.com/40926992/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17275865/_And_the_one_doesn_t_stir_on_curatorial_practice_and_the_making_of_feminist_histories">“And the one doesn’t stir...": on curatorial practice and the making of feminist histories</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is a link to an essay published in the book And the One Doesn't Stir without the Other which...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is a link to an essay published in the book And the One Doesn't Stir without the Other which was developed from an art exhibition curated by Ruth Jones and Ursula Burke at The Ormeau Baths Gallery, Belfast held from 24 July to August 31 2003. The full citation is: MESKIMMON, M., 2005. “And the one doesn’t stir...": on curatorial practice and the making of feminist histories. IN: Jones, R. and Burke, U. (eds.). And the one doesn't stir without the other. Belfast: Ursula Burke and Ruth Jones, in conjunction with the Ormeau Baths Gallery, pp. 45-49</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3a8c112ffbc01a80385e7b4db1a96b83" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40926992,"asset_id":17275865,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40926992/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17275865"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17275865"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17275865; 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Marsha Meskimmon was one of the 30 contributors to this article who responded to the following questions:What is the historical specificity of current calls to decolonize art history? How are they different from previous challenges to the discipline (such as postcolonialism, feminism, queer studies, Marxism)?What is your understanding of decolonizing art history now? What does a decolonized art history look like? How should it be written/practised?How might the decolonization of art history impact upon your own area of research/practice? What would be produced from it? Might anything have to be jettisoned?Where should decolonization in relation to art history happen? 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(...)<br />The fifth letter contributed a great deal to the<br />methodological parameters of our collaboration;<br />the local context was introduced, the artistic<br />research methods of Monica Sand, especially<br />her pioneering use of walking, entered into<br />the frame of our correspondence, and another<br />figuration, one that has remained with us, began<br />to find its form: the shimmering stage.<br />— From Marsha Meskimmon’s article<br />In this book the reader will encounter the work conducted during<br />a symposium titled “Dance as Critical Heritage: Archives, Access,<br />Action” arranged in Gothenburg, Sweden, in October 2013. It<br />was an initiative of the Archives cluster within Critical Heritage<br />Studies ( CHS ) at the University of Gothenburg. The aim of the<br />symposium was to begin forging a critical space, to welcome<br />everyone to start a journey of radically rethinking how and why<br />archived ( or non-archived ) “ephemeral and intangible” heritage could be theorized and explored.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3f45aa5021fcf442ceb7582c79ddbeba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36195858,"asset_id":10068996,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36195858/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10068996"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10068996"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10068996; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="64270854"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/64270854/Of_mothers_mourning_and_chocolate_the_double_infinity_of_the_affective_gift"><img alt="Research paper thumbnail of Of mothers, mourning and chocolate: the double infinity of the affective gift" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/64270854/Of_mothers_mourning_and_chocolate_the_double_infinity_of_the_affective_gift">Of mothers, mourning and chocolate: the double infinity of the affective gift</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the keynote lecture from the conference, Family Ties: Recollection and Representation An ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the keynote lecture from the conference, Family Ties: Recollection and Representation An Interdisciplinary Conference organised under the auspices of the Centre for the Study of Cultural Memory at the Institute of Germanic & Romance Studies, University of London (<a href="http://www.igrs.sas.ac.uk/family-ties" rel="nofollow">http://www.igrs.sas.ac.uk/family-ties</a>)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="64270854"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="64270854"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64270854; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=64270854]").text(description); $(".js-view-count[data-work-id=64270854]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 64270854; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='64270854']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=64270854]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":64270854,"title":"Of mothers, mourning and chocolate: the double infinity of the affective gift","internal_url":"https://www.academia.edu/64270854/Of_mothers_mourning_and_chocolate_the_double_infinity_of_the_affective_gift","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="16781560" id="journalarticles"><div class="js-work-strip profile--work_container" data-work-id="52603346"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/52603346/From_the_cosmos_to_the_polis_on_denizens_art_and_postmigration_worldmaking"><img alt="Research paper thumbnail of From the cosmos to the polis: on denizens, art and postmigration worldmaking" class="work-thumbnail" src="https://attachments.academia-assets.com/69790069/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/52603346/From_the_cosmos_to_the_polis_on_denizens_art_and_postmigration_worldmaking">From the cosmos to the polis: on denizens, art and postmigration worldmaking</a></div><div class="wp-workCard_item"><span>Journal of Aesthetics & Culture</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The concept of "postmigration" as a non-binary way of understanding the exchange and movement of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The concept of "postmigration" as a non-binary way of understanding the exchange and movement of people and ideas across imaginative and materially enforced boundaries, is a compelling way to engage with contemporary politics, art and culture. It also has much to say to a contemporary cosmopolitanism that stresses the significance of embodied, responsible and intersubjective agency as the basis of an ethical worldmaking project. This essay deploys an alternative figuration, the denizen, as a means by which to materialize the imaginative force of art beyond the limits of representation and, in so doing, propose it as an active mode of experimental worldmaking. Arguing with and through a small number of specific case studies, the text brings the insights of feminist corporeal-materialism together with a postcolonial praxis of reading, writing and making within, and yet against, the grain of the exclusive limits of the "nation" and "her citizens". The wilful act of the denizen in making herself at home everywhere becomes a way of imagining and materializing creative ecologies of belonging that are neither premised upon an essential call to blood nor an authentic claim to soil. Rather, the postmigration worldmaking explored here posits a radically open cosmos that emerges in mutual exchange with a response-able and responsible polis.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c2f6ed35c058238fd9f0174cae419af0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":69790069,"asset_id":52603346,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/69790069/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="52603346"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="52603346"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 52603346; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=52603346]").text(description); $(".js-view-count[data-work-id=52603346]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 52603346; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='52603346']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c2f6ed35c058238fd9f0174cae419af0" } } $('.js-work-strip[data-work-id=52603346]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":52603346,"title":"From the cosmos to the polis: on denizens, art and postmigration worldmaking","internal_url":"https://www.academia.edu/52603346/From_the_cosmos_to_the_polis_on_denizens_art_and_postmigration_worldmaking","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[{"id":69790069,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/69790069/thumbnails/1.jpg","file_name":"20004214.2017.pdf","download_url":"https://www.academia.edu/attachments/69790069/download_file","bulk_download_file_name":"From_the_cosmos_to_the_polis_on_denizens.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/69790069/20004214.2017-libre.pdf?1631865497=\u0026response-content-disposition=attachment%3B+filename%3DFrom_the_cosmos_to_the_polis_on_denizens.pdf\u0026Expires=1739839304\u0026Signature=cYxGM4y39W2JKhabbCtECStlJ~pGWcwf4MMrC34FoFED0wngdIWy7~EZpaxTdFE5pZgSppnjdpy1uIifh4PkHmTHVkOW4gtUFZahrqkLOakXYG5rGDHSJRxLqjYw4tTt-OgkWO5pGMdmjndYDRb~9Mi9maVkkmvdWVCO40tqwO1UONLaOpav9FUQ1bP8dmJZbNkZipndEtbtKsVPNmL-18n1~kB5mhy7hbkosU9q9h1hKTapBXRSk9KJE5zW9c6krRYDPINeSAaTPSLRJUkM9T1r4JBIBd5eUOj3kKBMTLfIxaqVXSsM3yU-Rk4sO3EfE2ELggnLCZcb7pnyuO0EEQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="52603344"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/52603344/Making_Oneself_at_Home"><img alt="Research paper thumbnail of Making Oneself at Home" class="work-thumbnail" src="https://attachments.academia-assets.com/69790098/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/52603344/Making_Oneself_at_Home">Making Oneself at Home</a></div><div class="wp-workCard_item"><span>Third Text</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The following text is derived from a presentation given as a dialogue to the annual conference of...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The following text is derived from a presentation given as a dialogue to the annual conference of the Association of Art Historians in London 2014, where our presentation was used to open the session. Our decision to perform an interactive, scripted dialogue against a background of images, was an intentional attempt to explore 'art history' in ways that do not conform to the accepted academic conference conventions of a formal paper, subsequently revised, extended and embellished with references and footnotes to locate the writing as serious 'research' designed for possible publication. Research is generated not only by planned research processes but by informal interactions such as conversation and correspondence. In these processes dialogue is generative: ideas are sketched out, emerge spontaneously in response to questions, or are snatched from insights stimulated by unexpected collisions of spoken or written words. 1 Art history offers many examples of fruitful correspondence between thinkers and practitioners. E.H. Gombrich and Quentin Bell explored canons and values in 1979; John Berger corresponded with Leon Kossoff (1996) and with James Elkins (2003-4) about drawing. 2 As academics engaged in teaching and research, we talk about our shared interests in feminist histories and theories and our experiences as women now based in Britain, but who lived lives 1 There is now a substantial literature that explores and supports the use of a variety of writing strategies to develop feminist thinking in the arts, humanities and social sciences. See, for example:</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e00f502a582fa4cb5583e84484fc5b65" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":69790098,"asset_id":52603344,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/69790098/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="52603344"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="52603344"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 52603344; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17276052"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17276052/The_precarious_ecologies_of_cosmopolitanism"><img alt="Research paper thumbnail of The precarious ecologies of cosmopolitanism" class="work-thumbnail" src="https://attachments.academia-assets.com/96652827/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17276052/The_precarious_ecologies_of_cosmopolitanism">The precarious ecologies of cosmopolitanism</a></div><div class="wp-workCard_item"><span>Open Arts Journal</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is a link to the article, 'The precarious ecologies of cosmopolitanism', published in the Op...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is a link to the article, 'The precarious ecologies of cosmopolitanism', published in the Open Arts Journal and the Humanities Research Journal in 2013. The full citation is: MESKIMMON, M.G., 2013. The precarious ecologies of cosmopolitanism. Open Arts Journal, 1 (1), pp.15-25.<br />This is an Open Access article, licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. This article was published in both the Open Arts Journal and the Humanities Research Journal in 2013.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a84b92ed7ded2475782260df4519e2e5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96652827,"asset_id":17276052,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96652827/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17276052"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17276052"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17276052; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="4935001"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/4935001/Corporeal_Theory_with_in_Practice_Christine_Borlands_Winter_Garden"><img alt="Research paper thumbnail of Corporeal Theory with/in Practice: Christine Borland's Winter Garden" class="work-thumbnail" src="https://attachments.academia-assets.com/96653429/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/4935001/Corporeal_Theory_with_in_Practice_Christine_Borlands_Winter_Garden">Corporeal Theory with/in Practice: Christine Borland's Winter Garden</a></div><div class="wp-workCard_item"><span>Art History</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Focusing on the work Winter Garden, produced in 2001 by Scottish artist Christine Borland, the es...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Focusing on the work Winter Garden, produced in 2001 by Scottish artist Christine Borland, the essay argues that contemporary women's art can move beyond the idea of the body as an object to interrogate sexual difference as a process of the ‘in-between’. Winter Garden can be seen to materialize concepts and enfold ‘theory’ with/in ‘practice’ in a vital, corporeal exchange with bodies in the world. This fact invites feminist art critics and historians to engage artwork otherwise. The essay suggests that this engagement is both mobile and located: a resonant critical practice takes theory as corporeal, part of a mutual knowledge project, itself capable of creative change and development in its encounter with different images, objects and ideas. Thinking through Winter Garden, some of the implications of corporeal theory are explored as forms of inventive feminist thought.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="454a9290f9ecc04538d96a941508648d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96653429,"asset_id":4935001,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96653429/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4935001"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4935001"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4935001; 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Jenny Holzer's 'Lustmord' and th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This link takes you to a copy of the paper: MESKIMMON, M., 2000. Jenny Holzer's 'Lustmord' and the project of resonant criticism. n.paradoxa: International Feminist Art Journal, 6 (Desire and the Gaze, July 2000), pp. 12-21. <br /> <br />Responding to the systematic rape and murder of thousands of women in brutal acts of ‘ethnic cleansing’ during the Bosnian War, Jenny Holzer produced the powerful Lustmord during 1993 and 1994. The project is complex and thought-provoking, not least because its texts, images and objects call to observers’ own bodies, insisting that they participate in the work rather than stand outside it. Lustmord thus redefines the conventional relationship between desire and the gaze, which locates the encounter between subject and object as a unidirectional function of lack. This work creates a different space, one which is troubling and powerful precisely because it sets up reciprocal, intersubjective relationships through spectatorship. Thinking about the implications of this project, its strategies and modes of making ‘history’, will concern me throughout this essay, but a few introductory comments by way of description are necessary first.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a8178fc8f2e402b358dddc26522a329d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40926987,"asset_id":17276109,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40926987/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17276109"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17276109"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17276109; 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Jennifer González teaches in the History of Art and Visual Culture Department at the Universi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... Jennifer González teaches in the History of Art and Visual Culture Department at the University of California, Santa Cruz, with courses on museums and the politics of display, feminist theory and art production, semiotics and visual culture, activist art since 1960, the camera and ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4935003"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4935003"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4935003; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4935003]").text(description); $(".js-view-count[data-work-id=4935003]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4935003; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4935003']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=4935003]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4935003,"title":"Feminist Activist Art, a Roundtable Forum, August 24?31, 2005","internal_url":"https://www.academia.edu/4935003/Feminist_Activist_Art_a_Roundtable_Forum_August_24_31_2005","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2607360" id="drawingfictions"><div class="js-work-strip profile--work_container" data-work-id="52603334"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/52603334/%C3%89tude_pour_le_Cirque_becoming_powders"><img alt="Research paper thumbnail of Étude pour le Cirque: becoming powders" class="work-thumbnail" src="https://attachments.academia-assets.com/69790068/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/52603334/%C3%89tude_pour_le_Cirque_becoming_powders">Étude pour le Cirque: becoming powders</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ada and René confer,… she takes nothing for granted in this company, and is reassured that they h...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ada and René confer,… she takes nothing for granted in this company, and is reassured that they have come to the right place, that they have [(not)] been led astray (a merry dance). Her own thoughts are [(marks)] on paper, in grease, pigment, graphite|| diamonds and a gum binder.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8117c67c9a24844a9d43e6a17ddbe586" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":69790068,"asset_id":52603334,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/69790068/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="52603334"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="52603334"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 52603334; 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And the arts and An ecology is a self-sustaining, self-regulating system. ... Nothing prevent...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... And the arts and An ecology is a self-sustaining, self-regulating system. ... Nothing prevented the de facto depoliticization of politics pursued by politicians of all persuasions and the business sector alike: the consensus of progressive, intellectual opinion was being all the while so ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126833052"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126833052"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126833052; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=126833052]").text(description); $(".js-view-count[data-work-id=126833052]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 126833052; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='126833052']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=126833052]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":126833052,"title":"Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture","internal_url":"https://www.academia.edu/126833052/Breaking_the_Disciplines_Reconceptions_in_Knowledge_Art_and_Culture","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="126833051"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/126833051/Editorial_introduction_ec_centric_affinities_locations_aesthetics_experiences"><img alt="Research paper thumbnail of Editorial introduction: ec/centric affinities: locations, aesthetics, experiences" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/126833051/Editorial_introduction_ec_centric_affinities_locations_aesthetics_experiences">Editorial introduction: ec/centric affinities: locations, aesthetics, experiences</a></div><div class="wp-workCard_item"><span>Loughborough University eBooks</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is a link to the co-authored introduction to the edited anthology Women, the Arts and Global...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is a link to the co-authored introduction to the edited anthology Women, the Arts and Globalization: Eccentric Experience. The full citation is: MESKIMMON, M. and ROWE, D.C., 2013. Editorial introduction: ec/centric affinities: locations, aesthetics, experiences. IN: Meskimmon, M.G. and Rowe, D.C. (eds). Women, the Arts and Globalization: Eccentric Experience. Manchester: Manchester University Press, 2013.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126833051"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126833051"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126833051; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=126833051]").text(description); $(".js-view-count[data-work-id=126833051]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 126833051; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='126833051']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=126833051]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":126833051,"title":"Editorial introduction: ec/centric affinities: locations, aesthetics, experiences","internal_url":"https://www.academia.edu/126833051/Editorial_introduction_ec_centric_affinities_locations_aesthetics_experiences","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="126833050"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/126833050/_And_the_one_doesn_t_stir_on_curatorial_practice_and_the_making_of_feminist_histories"><img alt="Research paper thumbnail of “And the one doesn’t stir...": on curatorial practice and the making of feminist histories" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/126833050/_And_the_one_doesn_t_stir_on_curatorial_practice_and_the_making_of_feminist_histories">“And the one doesn’t stir...": on curatorial practice and the making of feminist histories</a></div><div class="wp-workCard_item"><span>Loughborough University eBooks</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay charts a journey through a series of concentric circles. Like a pebble dropped into a ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay charts a journey through a series of concentric circles. Like a pebble dropped into a still pool, the exhibition And the One Doesn’t Stir without the Other acted as a point of impact around which resonances between feminist art, activism, history and theory were amplified. It is not surprising that my journey takes the form of undulating waves rather than linear recounting, nor that its aftershocks connect differences rather than destroy them. One of the most significant legacies of feminism to epistemology has been the dismantling of the disembodied logic which underpins monolithic modes of historical narrative. The show’s curatorial sensitivity to the nuances of materiality, time and space enabled visitors to participate with the works in reconceiving the histories of feminist art/theory.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126833050"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126833050"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126833050; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=126833050]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":126833050,"title":"“And the one doesn’t stir...\": on curatorial practice and the making of feminist histories","internal_url":"https://www.academia.edu/126833050/_And_the_one_doesn_t_stir_on_curatorial_practice_and_the_making_of_feminist_histories","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="126833049"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/126833049/Transnational_Feminisms_and_Art_s_Transhemispheric_Histories"><img alt="Research paper thumbnail of Transnational Feminisms and Art’s Transhemispheric Histories" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/126833049/Transnational_Feminisms_and_Art_s_Transhemispheric_Histories">Transnational Feminisms and Art’s Transhemispheric Histories</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126833049"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126833049"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126833049; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=126833049]").text(description); $(".js-view-count[data-work-id=126833049]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 126833049; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='126833049']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=126833049]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":126833049,"title":"Transnational Feminisms and Art’s Transhemispheric Histories","internal_url":"https://www.academia.edu/126833049/Transnational_Feminisms_and_Art_s_Transhemispheric_Histories","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="126833048"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/126833048/The_Precarious_Ecologies_of_Cosmopolitanism"><img alt="Research paper thumbnail of The Precarious Ecologies of Cosmopolitanism" class="work-thumbnail" src="https://attachments.academia-assets.com/120652176/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126833048/The_Precarious_Ecologies_of_Cosmopolitanism">The Precarious Ecologies of Cosmopolitanism</a></div><div class="wp-workCard_item"><span>Humanities research</span><span>, Jul 1, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Fleeting, fragile patterns, rendered in dust, gradually covered the floor of an abandoned Georgia...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Fleeting, fragile patterns, rendered in dust, gradually covered the floor of an abandoned Georgian farmhouse in Bicker, Lincolnshire, as the artist Catherine Bertola meticulously 'cleaned' the space from dawn to dusk each day for nearly a month in 2006. 1 Her cleaning 2 was a drawing in, and out from, dust-a slow, repetitive process of working with the material residue of the past in the space of the present, so that the two worlds collided, after the fact. Their collision was quotidian, rather than dramatic, the traces of one world were re-made in another using the humblest, yet most ubiquitous of materials-dust. The particles that materialised the elaborate, yet tenuous, interconnections between past and present worlds in After the Fact were themselves evocative of a double movement in time. Dust signals both the radical un-making of the world, its movement toward entropy, and the agency of world-making, the material trace left in the wake of human and non-human activities that seek to give shape and meaning to the world. I want to suggest that there is a compelling connection between the dust that was so central to After the Fact and a provocative statement made by American philosopher Nelson Goodman when he considered from what we might make worlds. As he argued: 'Not from nothing, after all, but from other worlds. Worldmaking as we know it always starts from worlds already on hand; the making is a remaking.' 3 Goodman's formulation is a useful starting point for thinking through the complexities of worlds and world-making in art as it reminds us that there is no outside to art-making, no privileged beyond from which to represent a world, only the stuff of which the art and the world both comprise. From dust to world, from world to dust, world-making in art is always after the 1 Catherine Bertola's site-specific installation, After the Fact was performed as part of the Beacon Art project of 2006, no place, like home, curated by John Plowman across a number of sites in Lincolnshire between 9 September and 10 October. 2 'Cleaning' is literally invoked here-the work was made of dust, soap and polish, using dusters and cleaning cloths as tools.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3c00c2d4d54b9d12980fa45345664185" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120652176,"asset_id":126833048,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120652176/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126833048"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126833048"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126833048; 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It was author-edited by Marsha Meskimmon, with a contribution by Martin L Davies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124685474"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124685474"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124685474; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124685474]").text(description); $(".js-view-count[data-work-id=124685474]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124685474; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124685474']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124685474]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124685474,"title":"Domesticity and Dissent: The Role of Women Artists in Germany 1918 to 1938","internal_url":"https://www.academia.edu/124685474/Domesticity_and_Dissent_The_Role_of_Women_Artists_in_Germany_1918_to_1938","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124685472"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/124685472/Contemporary_art_and_the_cosmopolitan_imagination_Chapter_one_"><img alt="Research paper thumbnail of Contemporary art and the cosmopolitan imagination (Chapter one)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124685472/Contemporary_art_and_the_cosmopolitan_imagination_Chapter_one_">Contemporary art and the cosmopolitan imagination (Chapter one)</a></div><div class="wp-workCard_item"><span>Loughborough University eBooks</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Marsha Meskimmon CONTEMPORARYART AND THE COSMOPOLITAN IMAGINATION ... Increasingly, I am convince...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Marsha Meskimmon CONTEMPORARYART AND THE COSMOPOLITAN IMAGINATION ... Increasingly, I am convinced that a book is a series of marks on a support. I offer, in the pages that follow, thoughts on contemporary art and the possibility of a cos-mopolitan imagination ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124685472"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124685472"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124685472; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124685472]").text(description); $(".js-view-count[data-work-id=124685472]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124685472; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124685472']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124685472]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124685472,"title":"Contemporary art and the cosmopolitan imagination (Chapter one)","internal_url":"https://www.academia.edu/124685472/Contemporary_art_and_the_cosmopolitan_imagination_Chapter_one_","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124685471"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124685471/From_the_cosmos_to_the_polis_on_denizens_art_and_postmigration_worldmaking"><img alt="Research paper thumbnail of From the cosmos to the polis: on denizens, art and postmigration worldmaking" class="work-thumbnail" src="https://attachments.academia-assets.com/118865584/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124685471/From_the_cosmos_to_the_polis_on_denizens_art_and_postmigration_worldmaking">From the cosmos to the polis: on denizens, art and postmigration worldmaking</a></div><div class="wp-workCard_item"><span>Journal of Aesthetics & Culture</span><span>, Aug 21, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The concept of "postmigration" as a non-binary way of understanding the exchange and movement of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The concept of "postmigration" as a non-binary way of understanding the exchange and movement of people and ideas across imaginative and materially enforced boundaries, is a compelling way to engage with contemporary politics, art and culture. It also has much to say to a contemporary cosmopolitanism that stresses the significance of embodied, responsible and intersubjective agency as the basis of an ethical worldmaking project. This essay deploys an alternative figuration, the denizen, as a means by which to materialize the imaginative force of art beyond the limits of representation and, in so doing, propose it as an active mode of experimental worldmaking. Arguing with and through a small number of specific case studies, the text brings the insights of feminist corporeal-materialism together with a postcolonial praxis of reading, writing and making within, and yet against, the grain of the exclusive limits of the "nation" and "her citizens". The wilful act of the denizen in making herself at home everywhere becomes a way of imagining and materializing creative ecologies of belonging that are neither premised upon an essential call to blood nor an authentic claim to soil. 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I offer, in the pages that follow, thoughts on contemporary art and the possibility of a cos-mopolitan imagination ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124685470"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124685470"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124685470; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124685470]").text(description); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124685465]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124685465,"title":"Sexual Violence, Structural Silence and Transversal Solidarity","internal_url":"https://www.academia.edu/124685465/Sexual_Violence_Structural_Silence_and_Transversal_Solidarity","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124685464"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/124685464/The_Fluid_Female_Subject_of_a_Mercurial_Modernism"><img alt="Research paper thumbnail of The Fluid Female Subject of a Mercurial Modernism" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124685464/The_Fluid_Female_Subject_of_a_Mercurial_Modernism">The Fluid Female Subject of a Mercurial Modernism</a></div><div class="wp-workCard_item"><span>Oxford Art Journal</span><span>, 2004</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124685464"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124685464"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124685464; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124685464]").text(description); $(".js-view-count[data-work-id=124685464]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124685464; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124685464']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124685464]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124685464,"title":"The Fluid Female Subject of a Mercurial Modernism","internal_url":"https://www.academia.edu/124685464/The_Fluid_Female_Subject_of_a_Mercurial_Modernism","owner_id":6429670,"coauthors_can_edit":true,"owner":{"id":6429670,"first_name":"Marsha","middle_initials":null,"last_name":"Meskimmon","page_name":"MarshaMeskimmon","domain_name":"lboro","created_at":"2013-10-28T04:55:51.592-07:00","display_name":"Marsha Meskimmon","url":"https://lboro.academia.edu/MarshaMeskimmon"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124685463"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/124685463/The_precarious_ecologies_of_cosmopolitanism"><img alt="Research paper thumbnail of The precarious ecologies of cosmopolitanism" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124685463/The_precarious_ecologies_of_cosmopolitanism">The precarious ecologies of cosmopolitanism</a></div><div class="wp-workCard_item"><span>Open arts journal</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Making Worlds After the FactFleeting, fragile patterns, rendered in dust, gradually covered the f...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Making Worlds After the FactFleeting, fragile patterns, rendered in dust, gradually covered the floor of an abandoned Georgian farmhouse in Bicker, Lincolnshire, as the artist Catherine Bertola meticulously &#39;cleaned&#39; the space from dawn to dusk each day for nearly a month in 2006.1 Her cleaning2 was a drawing in, and out from, dust-a slow, repetitive process of working with the material residue of the past in the space of the present, so that the two worlds collided, after the fact. Their collision was quotidian, rather than dramatic, the traces of one world were re-made in another using the humblest, yet most ubiquitous of materials-dust. The particles that materialised the elaborate, yet tenuous, interconnections between past and present worlds in After the Fact were themselves evocative of a double movement in time. Dust signals both the radical un-making of the world, its movement toward entropy, and the agency of world-making, the material trace left in the wake of human and non-human activities that seek to give shape and meaning to the world.I want to suggest that there is a compelling connection between the dust that was so central to After the Fact and a provocative statement made by American philosopher Nelson Goodman when he considered from what we might make worlds. As he argued: &#39;Not from nothing, after all, but from other worlds. World-making as we know it always starts from worlds already on hand; the making is a remaking.&#39;3 Goodman&#39;s formulation is a useful starting point for thinking through the complexities of worlds and world-making in art as it reminds us that there is no outside to art-making, no privileged beyond from which to represent a world, only the stuff of which the art and the world both comprise. From dust to world, from world to dust, world-making in art is always after the fact, yet never out of time. There is no end to the enterprise of world-making, nor to the potential for material transformation in art-making. Nor does world-making in art conform to a unidirectional temporality, a teleological mission or final Utopian destination. World-making in this sense is ecological, it describes ongoing, mutable processes and systems of relation that take place between living and non-living things. And, arguably, where art-making becomes worldmaking, materiality becomes crucial to ecology.Bertola&#39;s recurrent labour in making After the Fact was as integral to its meaning as the dust from which it was made. The large and complex patterned dust drawing threatened to decompose, to be un-made, without the continual attention, effort and care of the artist as she &#39;cleaned&#39; the floor each day. When she departed, dust slowly reclaimed the space leaving only the photographic trace of the work as its legacy. The hours upon hours of Bertola&#39;s laborious cleaning never displaced the dust, her excessive work could neither hold back time, nor remove the residual traces of past worlds. The work&#39;s production was itself an instance of world-making as re-making, the ecology it sustained for the period of its installation was a perpetual material transformation in and of time. The resultant site-specific drawing did not simply replace the &#39;past&#39; with the &#39;present&#39;, but brought them together within the same space, in and of the same material, transformed.Significantly, After the Fact did not illustrate the history of its site, nor did it present an image of a Georgian domestic interior. Rather, it produced a space in which it was possible to (re-)encounter, imaginatively, the curves and arabesques that once adorned the papered walls of the Georgian farmhouse, now gone to dust. Re-animated through patterns traced in that self-same dust, their tenuous lines were drawn out across the wooden floor. The space was thus articulated as a locus for memory and imagination that collapsed time and folded worlds into one another through their re-making as art. In this re-making, facture and material were intimately intertwined and mutually constitutive. …</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124685463"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124685463"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124685463; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124685463]").text(description); 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