Sophie Orlando

Two lectures that address feminist questions and art education in the 1980s and today. Feminism, Pedagogy, and the Studio: Reflections Across Four Decades brings together two lectures delivered by feminist art historian and curator Griselda Pollock in 1985 and 2022. In 1985, Griselda Pollock critically examined the gender politics of twentieth-century art education that, she argued, reinforced masculinist and individualist ideologies within capitalist conditions of artistic production. She linked the cult of authorship to the nonrecognition of women as artists, even in the face of the evidence of women's consider-able participation in modern art. She explored the impact of a critical post-modern and feminist artistic engagement with theories of meaning, subjectivity, and the image drawn from outside the "studio" model. She ultimately proposed "feminist interventions in art's histories," where expanded histories--including race, class, gender, and sexuality--challenge both the monographic-all-male model of the hero artist and the hegemony of formalist art theory. Almost forty years later, in 2022, she revisited the impact of "1968" and its theoretical revolution. She historically situates the major geopolitical an ideological shifts since 1989 (The Fall of the Berlin Wall) and 2001 (9/11), and notably since 2007 the touch-screen phone (linking to the internet and social media). She identifies a troubling cultural tendency post-2010 that, with thanks to Derrida, she terms "insta-grammatology." Finally, she calls for a critical analysis of how the "grammar" of social media reduces the spectrum of nuanced thinking and performs a political surveillance of ideas. Copublished by Villa Arson

Archaeological Investigations With Uncertain Outcomes. In her conceptual drawings and multimedia installations, Katrin Str bel (born 1975 in Pforzheim; lives and works in Marseille, Stuttgart, and Rabat) questions the social and geopolitical realities of the present with a simultaneously playful and critical eye. Her archaeology of everyday life pursues the political as decidedly as modern representations of the female body or practices of cultural appropriation - but also focuses on more private spaces, design objects, and interiors, such as the wallpaper in the studio of the Italian avant-garde artist Dadamaino. The astute negotiation of colonized bodies, spaces, and objects interspersed with cultural codes is reminiscent of Hanna H ch's early collages. Str bel lends them her contemporary voice: from the design classic Eames to current gender images to compendia of modern art history, the artist deconstructs Eurocentric culture with a critical-ironic gaze. The catalog offers an overview of works from 2016 to 2019. With accompanying texts by Julie Crenn, Iris Dressler, Sophie Orlando and Dorit Sch fer.

The conditions of development of British Black Art are tied up with a social and cultural history of Europe, especially the anti-immigration policies of Margaret Thatcher and their consequences, such as the Brixton riots of the early 1980s. British Black Art Works suggests new narratives about canonical artworks of the British Black Art movement, such as Lubaina Himid's 1984 "Freedom and Change," Eddie Chambers' 1980 "Destruction of the National Front" and Sonia Boyce's 1986 "Lay Back Keep Quiet and Think of What Made Britain So Great," interrogating their critical agency from an art-historical perspective. These artworks, art historian Sophie Orlando argues, imply a critical analysis of Western art history. This volume introduces readers to an important, long-marginalized movement and recontextualizes it with groundbreaking scholarship.