A critique of current debates in lesbian, gay and feminist politics that seeks to re-affirm the position of the lesbian in relation to queer and feminist ideologies. It includes representation and misrepresentation of lesbians, and their acceptance of marginalization, in contemporary culture.

Lesbians Are So Chic

Politics & Social Sciences

Cottingham, Laura

Philosophy

Bloomsbury Academic

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Seeing Through The Seventies

Social Sciences

Routledge

Bad Girls

Arts & Photography

Smith, Cherry

Individual Artists

Ica Editions

Art Of Mary Beth Edelson, The

Essays by Laura Cottingham, E. Ann Kaplan, Alissa Friedman, Paul Bloodgood, Linda Aleci. Timeline by Amy Trevelyon &amp; Mary Beth Edelson.

Aleci, Linda

Bloodgood, Paul

Friedman, Alissa

Kaplan, E. Ann

Edelson, Mary Beth

Seven Cycles

From the 70s ritual performances to the post-feminism of the new century, Mary Beth Edelson has been destabilizing preexisting representations of women. Whether in her version of the "Last Supper," in which Georgia O'Keeffe plays Christ to disciples Lee Krasner, Nancy Graves, Louise Bourgeois, and Yoko Ono; or in her performance "Cliffhanger," in which she hangs off a precipice; or in isolating images of "femmes fatales" of Hollywood films to project another narrative on their stereotyped scripts, Edelson never loses sight of what is at stake in her work: the construction, representation, and consumption of images of women. This book, a virtual scrapbook of the feminism movement, includes conversations between Edelson and such seminal feminist figures as Carolee Schneemann, Nancy Spero, and Miriam Schapiro. Designed by the artist and full of 30 years' worth of her multidisciplinary feminist and community-based work, The Art of Mary Beth Edelson offers Edelson the ultimate control over the construction of her own image in the present and the opportunity to recontextualize her past.

Spero, Nancy

Schneemann, Carolee

In Rainer Werner Fassbinder's Fear Eats the Soul (Angst Essen Seele Auf, 1974) Emma (Brigitte Mira), a working-class widow and former member of the Nazi party, marries Ali (El Hedi ben Salem), a much younger Moroccan migrant worker. Set in Munich during the 1970s, the film melds the conventions of melodrama with a radical sensibility to present a portrait of racism and everyday hypocrisy in post-war Germany. It is a film about the way conventional society detests anything and anybody unfamiliar - but also a film about the hopes and limits of love. Intricately directed, beautifully performed, and designed to show Munich life in all its shabby kitschiness, Fear Eats the Soul may be Fassbinder's finest film.Laura Cottingham celebrates Fassbinder's achievement, placing Fear Eats the Soul in relation to his extraordinarily prolific career in theatre, film and television. Her analysis pulls back the thin curtain that separated his work from his tumultuous life. She also explores the director's debt to the lush Hollywood melodramas made by fellow German Douglas Sirk, especially All That Heaven Allows (1955). In a detailed scene-by-scene analysis, Cottingham shows how Fassbinder managed to combine beauty and tenderness with fierce political critique.

Fear Eats the Soul (Angst Essen Seele Auf) (BFI Film Classics)

History & Criticism

British Film Institute

In Rainer Werner Fassbinder's Fear Eats the Soul (1974) an aging cleaning woman, Emmi (Brigitte Mira), marries a much younger, immigrant Moroccan mechanic, Ali (El Hedi ben Salem). Set in Munich during the 1970s, Fear Eats the Soul melds the conventions of melodrama with a radical sensibility in order to present a portrait of racism and everyday hypocrisy in postwar Germany. It is a film about the way conventional society detests anything and anybody unfamiliar--but also a film about the hopes and limits of love. Intricately directed, beautifully performed, and designed to show Munich life in all its shabby kitchiness, Fear Eats the Soul may be Fassbinder's finest film. Laura Cottingham celebrates Fassbinder's achievement, placing Fear Eats the Soul in relation to the director's extraordinarily prolific career in theater, film, and television. Her analysis pulls back the thin curtain that separated his work from his tumultuous life. In a detailed scene-by-scene analysis of Fear Eatsthe Soul, Cottingham shows how Fassbinder managed to combine beauty and tenderness with fierce political criticism.

Fear Eats the Soul (BFI Film Classics)

Humor & Entertainment

Movies

Combien faut-il de sales feministes pour changer une ampoule ? antifeminisme et art contemporain

Business & Money

Tahin Party

In recent years, Laura Cottingham has emerged as one of the most visible feminist critics of the so-called post-feminist generation. Following a social-political approach to art history and criticism that accepts visual culture as part of a larger social reality, Cottingham's writings investigate central tensions currently operative in the production, distribution and evaluation of art, especially those related to cultural production by and about women. Seeing Through the Seventies: Essays on Feminism and Art gathers together Cottingham's key essays from the 1990's. These include an appraisal of Lucy R. Lippard, the most influential feminist art critic of the1970's; a critique of the masculinist bias implicit to modernism and explicitly recuperated by commercially successful artists during the 1980s; an exhaustive analysis of the curatorial failures operative in the "Bad Girls" museum exhibitions of the early 1990s; surveys of feminist-influenced art practices during the women's liberationist period; speculations on the current possibilities and obstacles that attend efforts to recover lesbian cultural history; and an examination of the life, work and obscuration of the early twentieth-century French photographer Claude Cahun.

Seeing Through the Seventies: Essays on Feminism and Art (Routledge Harwood)

In recent years, Laura Cottingham has emerged as one of the most visible feminist critics of the so-called post-feminist generation. Following a social-political approach to art history and criticism that accepts visual culture as part of a larger social reality, Cottingham's writings investigate central tensions currently operative in the production, distribution and evaluation of art, especially those related to cultural production by and about women.Seeing Through the Seventies: Essays on Feminism and Art gathers together Cottingham's key essays from the 1990's. These include an appraisal of Lucy R. Lippard, the most influential feminist art critic of the1970's; a critique of the masculinist bias implicit to modernism and explicitly recuperated by commercially successful artists during the 1980s; an exhaustive analysis of the curatorial failures operative in the "Bad Girls" museum exhibitions of the early 1990s; surveys of feminist-influenced art practices during the women's liberationist period; speculations on the current possibilities and obstacles that attend efforts to recover lesbian cultural history; and an examination of the life, work and obscuration of the early twentieth-century French photographer Claude Cahun.

Seeing Through the Seventies: Essays on Feminism and Art

G+B Arts

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