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  1. # BlackGirlMagic as Resistant Imaginary.Qrescent Mali Mason - 2021 - Hypatia 36 (4):706-724.
    This article concerns itself with the ways that Black women have taken up #BlackGirlMagic as a critical reimagining of their subject positionalities as Black women. I argue that #BlackGirlMagic is a resistant imaginary that has significantly altered the contemporary western social imaginary and suggest that the intersectional ambiguity that Black women animate builds community among Black women toward collective liberation. Bringing together Kimberlé Crenshaw's concept of intersectionality, Simone de Beauvoir's concept of ambiguity, and María Lugones's concept of oppressed←→resisting subjects, I (...)
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  • (1 other version)Black post-blackness: the Black Arts Movement and twenty-first-century aesthetics Margo Natalie Crawford ; Spill: Scenes of black feminist fugitivity Alexis Pauline Gumbs; In the wake: on blackness and being Christina Sharpe. [REVIEW]Rachel Stonecipher - 2020 - Feminist Theory 21 (1):131-138.
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  • Feminist Philosophy of Art.A. W. Eaton - 2008 - Philosophy Compass 3 (5):873-893.
    This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.
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  • Feminist Art and the Political Imagination.Amy Mullin - 2003 - Hypatia 18 (4):189-213.
    Activist and political art works, particularly feminist ones, are frequently either dis-missed for their illegitimate combination of the aesthetic and the political, or embraced as chiefly political works. Flawed conceptions of politics and the imagination are responsible for that dismissal. An understanding of the imagination is developed that allows us to see how political work and political explorations may inform the artistic imagination.
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  • Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics.L. Ryan Musgrave - 2003 - Hypatia 18 (4):214-235.
    This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.
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