n.paradoxa Booklist
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Notes: Monographs and individual artists' exhibition catalogues are not included in this list, except where they are explicitly feminist and provide a key role model for feminist art practice. You can look at exhibitions and anthologies separately by moving to those pages.
For authors' last names use capital letter first. For those beginning with "A", type "A" or use the first 3 letters of their last name.
The country search uses full English names, e.g. The Netherlands, except for USA and UK. "International" (use Capital "I") is the category used for projects where artists from more than 3 countries are involved. Books and exhibitions under "International" are in addition to those listed as individual countries. New sections have been added for geographical regions/ continents: Asia, Africa, Pacific, Middle East, South America, Scandanavia. These categories are in addition to individual countries listed. So, for searches in Africa, look also in Nigeria and Egypt.
The title search is limited to words used in the title, it does not provide a keyword or subject search facility. This search is for one word only, no boolean (multiple) searches are supported. Artists' last names can also be searched in the title section, if they are in a book or exhibition title.
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This results of this search will give all books, exhibition catalogues, magazines and special issues, blogs, websites and women's art organisations for a country, including places of exhibition and publication and is compiled from n.paradoxa's database.
The results list is organised with links to organisations/websites first, then journals, then books and exhibition catalogues by date (with most recent first):
2022 Алиса Савицкая
She Was as Beautiful as a Russian Landscape / «Она была красива как русский пейзаж» (February 18 – April 17, 2022)
(Russia: Perm Museum of Contemporary Art)
2017 Tricia Cusack, Síghle Bhreathnach-Lynch eds
Art, Nation and Gender: Ethnic Landscapes, Myths and Mother-Figures (1st ed. 2003)
(Routledge)
2015 Ilmira Bolotri and Marina Vinnik
Art Feminism: Actual Language
(Rosa Luxemberg Foundation)
2014 Masha Gessen
Words Will Break Cement: The Passion of Pussy Riot
(Riverhead:Granta )
2013 Nataliya Kamenetskaya, Olesya Turkina, Marina Loshak
International Women's Day, 8 March: An Exhibition of Feminist Art (opens 6 March)
(Moscow: Manezh Museum and The Worker and Kolkhoz Woman Museum in Moscow)
2013 Victoria Lomasko and Nadia Plungian
Feminist Pencil - 2
(Moscow: ArtPlay)
2010 Natalya Kamenetskaya and Oksana Sarkisyan ed
Zen d'Art
(Moscow Museum of Modern Art)
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Review reproduced from Volume 27, n.paradoxa, Jan 2011. Katy Deepwell 'Short Book Reviews'
Natalya Kamenetskaya and Oksana Sarkisyan Zen d'Art: The History of Gender and Art in Post-Soviet Space Moscow Museum of Modern Art, 2010 ISBN: 978-91611-017-3
This large format exhibition catalogue contains unique and important documentation of feminist activities in Russia, largely in the cities of Moscow and St Petersburg, since 1988: and covers over twenty years of exhibitions, events and art works. The cyber-femin-club of Gallery 21; the history of women artists' shows by Russian feminist artists at home and abroad are documented in the photography and descriptions. Essays by Mila Bredikhina; Oleysa Turkina, Margarita Tupitsyn, Anna Alchuk, Alla Mitrofanova and Irina Aktuganova are also included. Many important texts from Russian women about feminist art ,the ambiguities of feminism and its progress / reception in Russia since 1988 are translated into English here for the first time. Recognising this picture as 'non-linear fragments of history from the archives' the exhibition and its catalogue is a bold and magnificent attempt to put contemporary feminist art from Russia on the international map and develops the small late twentieth century part of the previous major exhibition organised by Natalya Kamenetskaya, Femme Art (2002).
2007 Irina Bakanova and Natalya Kamenetskaya
Gender: Aspects of the Visual Arts of Northern and Central Russia
(Russian State University for the Humanities, Museum Center and The Creative Workshop, INO)
2005 Irene von Hardenberg (Photos: Reto Guntli)
Künstlerinnen : Atelierbesuche in Berlin, Moskau, New York
(Hildesheim : Gerstenberg )
2005 Mila Bredikhina and Katy Deepwell eds
Gender, Theory and Contemporary Art Anthology, 1970-2000 (English title of Russian text)
(Moscow: Rosspen)
2002 N. Kamenetskaya and L. Iovleva
Femme Art: Women Painting in Russia XV-XX centuries
(Moscow: INO & State Tretyakov Gallery (Text in English and Russian))
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Review reproduced from Volume 11, n.paradoxa, Jan 2003. Katy Deepwell 'Short Book Reviews'
N. Kamenetskaya and L. Iovleva
(eds) Femme Art: Women Painting in Russia XV-XX centuries
Moscow: INO & State Tretyakov Gallery, 2002. Text in both English and Russian.
Primarily drawing on the State Tretyakov Gallery collection, of which readers may be surprised to learn 30% are works by women artists, this exhibition was organised by the gallery in conjunction with the internationally toured Amazons of the Avant-Garde. The works from five centuries embraces the embroidery craftshops of the early Russian Tsars to video works and installation artists of today. Helena Goscilo and Elena Kornetchuk argue that contemporary women artists in Russia for the last two decades fit into four categories: 1) the selfportrait as a dominant genre; 2) the transvaluation of domestic space and household objects; 3) an ironic distancing from (or interrogation of) traditional gender roles in and beyond Soviet culture and 4) parallels with developments in women's prose, especially the use of role reversal and sexually ambiguous imagery.
Other essays included are by Mila Bredikhina; Ludmila A. Markina; Natalia A, Mayasova; Nadazhda M. Yurassovskaya; Myda Yablonskaya plus the editors. A website of the project is currently being constructed by Natalia Kamenetskaya.
2001 Matthew Baigell and Renee Baigell
Peeling Potatoes, Painting Pictures: Women Artists in Post-Soviet Russia, Estonia & Latvia, The First Decade
(New Brunswick, New Jersey: Rutgers University Press)
2000 Anna Alchuk ed
Women and Visual Marks (English title of Russian book)
(Moscow: Idea)
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Review reproduced from Volume 7, n.paradoxa, Jan 2001. Katy Deepwell 'Short Book Reviews'
Anna Alchuk (ed) Woman and Visual Marks Moscow: Idea-Press Publishers, 2000
Open Society Institute/ Woman Network Program. Russian text.
The theme of this collection is the imageof woman in mass consciousness produced by the mass media, TV, photos, advertising, periodicals, etc. This is quite a new theme for theoretical analysis in Russia. The collection brings together well known philosophers, sociologists, art critics and other feminist intellectuals. It offers an historical analysis of the mechanisms of emerging of new woman's images on the ruins of Soviet ideology.
Colour reproductions of 12 Russian women-artists are included:-A. Alchuk, T. Antoshina, L. Gorlova, E. Elagina, I. Makarevitch, I. Nachova, S. Sochranskaya, N. Tournova, A. Tchijova. Essays on the representation of women in former Soviet times and in today's Russia by V. Aristov ; N. Koslova ; O. Vanstein ; A. Levinson ; A. Jurchak. ; I. Aristarchova. and O. Turkina; on pornography O. Voronina; E.Goshilo and T. Michailova; and interviews with O. Lipovskaya and N. Azhgichina and M. Ryklin; analysis of the internet by S. Kuznetzov and Bredichina writes on 'Representative practices in women's art in Moscow in the 1990s.'
1996 Jo Anna Isaak
Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter
(London: Routledge)
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Review first published in n.paradoxa online (May 1997) by Katy Deepwell -- Jo Anna Isaak analyses and presents the work of women artists from the U.S., the former Soviet Union; the United Kingdom and Canada in this book, beginning with the work from her 1982 exhibition 'The Revolutionary Power of Women's Laughter' and its 1992 sequel 'Laughter Ten Years After'. Two chapters engage with her work on Freud and feminist readings 'Art History and Its Discontents' and 'Encore'; and on Cixous in 'Mapping the Imaginary'. There are many insights and ideas presented for feminist analysis within this book. What is immediately striking is the move towards an international appraisal of parallels within feminism and the importance of 'heteroglossia'.
Chapters : The Revolutionary Power of Women's Laughter ; Art History and Its (Dis)Contents ; Reflections of Resistance: Women Artists on the Other Side of the Mir; Mothers of Invention ; Mapping the Imaginary ; Encore.
1994 Katie Baldwin and Olga Lipovskaya
Favoritka ... : [vystavka]
(Proshedsheya in Saint Petersburg. Part of the Festival of Women's Art "Not a Muse, but a Creator" ... St. Petersburg, Fresh Air, November 12-20)
1993 Margarita Tupitsyn
After Perestroika : Kitchenmaids or Stateswomen
(New York : Independent Curators. Margarita Tupitsyn, curator; essays by Margarita Tupitsyn and Martha Rosler.)
1992
Heresies vol 26 / IdiomA
() 1992 special issue collaboration in English (US) and Russian between these two journals
FemInfoTeka
() 'Feminfoteka' is a self-organised grassroots queer-feminist library and a space for feminist discussions in St Petersburg.
Cyber-Femin-Club
() now closed. History documented in catalogue Zen D'art (2010)
Vera Ermolaeva Foundation of Contemporary Feminist Art Initiatives (Moscow)(until 2015)
() initiative of Natalya Eryomenko