LEADER 01688nas 2200541-a 450 001 996206149003316 005 20230217213020.0 011 $a1627-3591 035 $a(DE-599)ZDB2012331-0 035 $a(OCoLC)54067471 035 $a(CKB)111006902715158 035 $a(CONSER)--2003263215 035 $a(EXLCZ)99111006902715158 100 $a20040122b20012006 s-- - 101 0 $aeng 135 $aurmn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAnimal research 210 $aLes Ulis, France ;$aCambridge, MA $cEDP Sciences S.A.$d©2001-©2007 300 $aRefereed/Peer-reviewed 300 $aTitle from issue table of contents (EDP Sciences, viewed Sept. 28, 2005). 311 1 $a1627-3583 606 $aAnimal culture$vPeriodicals 606 $aLivestock$vPeriodicals 606 $aZoology, Economic$vPeriodicals 606 $aZootechnie$vPériodiques 606 $aÉlevage$vPériodiques 606 $aZoologie économique$vPériodiques 606 $aAnimal culture$2fast$3(OCoLC)fst00809131 606 $aLivestock$2fast$3(OCoLC)fst01000722 606 $aZoology, Economic$2fast$3(OCoLC)fst01184744 608 $aPeriodicals.$2fast 615 0$aAnimal culture 615 0$aLivestock 615 0$aZoology, Economic 615 6$aZootechnie 615 6$aÉlevage 615 6$aZoologie économique 615 7$aAnimal culture. 615 7$aLivestock. 615 7$aZoology, Economic. 712 02$aInstitut national de la recherche agronomique (France) 906 $aJOURNAL 912 $a996206149003316 996 $aAnimal research$92086685 997 $aUNISA LEADER 04064oam 2200661I 450 001 9910786305503321 005 20230617031201.0 010 $a1-135-13088-4 010 $a0-203-38946-8 010 $a1-283-84649-7 010 $a1-135-13081-7 024 7 $a10.4324/9780203389461 035 $a(CKB)2670000000298981 035 $a(EBL)1075328 035 $a(OCoLC)821176272 035 $a(SSID)ssj0000784619 035 $a(PQKBManifestationID)11503900 035 $a(PQKBTitleCode)TC0000784619 035 $a(PQKBWorkID)10781829 035 $a(PQKB)11521531 035 $a(MiAaPQ)EBC1075328 035 $a(Au-PeEL)EBL1075328 035 $a(CaPaEBR)ebr10630919 035 $a(CaONFJC)MIL415899 035 $a(OCoLC)995586568 035 $a(OCoLC)1083449297 035 $a(FINmELB)ELB134280 035 $a(EXLCZ)992670000000298981 100 $a20180331d2003 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aWomen making art $ehistory, subjectivity, aesthetics /$fMarsha Meskimmon 210 1$aLondon ;$aNew York :$cRoutledge,$d2003. 215 $a1 online resource (241 p.) 300 $aDescription based upon print version of record. 311 $a0-415-24278-9 311 $a0-415-24277-0 320 $aIncludes bibliographical references and index. 327 $aWomen Making Art History, Subjectivity, Aesthetics; Copyright; Contents; List of illustrations; Acknowledgements; Introduction: women making art; Exhilaration and danger; The work of art; New epistemes; Part I History; Introduction; 1 Exiled histories: Holocaust and Heimat; Home, covenant and the profundity of the everyday; High culture, assimilation and modernity; 2 Corporeal cartography: women artists of the anglophone African disapora; Dancers, mothers and modernity; Dancing: place and ethnography; 3 Re-inscribing histories: Viet Nam and representation 327 $aMass media, documentary and reportageNation, difference and bodies politic; Part II Subjectivity; Introduction; 4 Embodiment: space and situated knowledge; Embodying the woman artist; Embodied vision: situation(ism), the library and the studio; Skin, borderlands and mestiza knowledge; 5 Performativity: desire and the inscribed body; From the performed to the materialised; Inside/outside; Erotic surfaces; 6 Becoming: individuals, collectives and wondrous machines; Flower painters and feminist figurations; Figuring the body in the virtual machine; Transindividuality and the loop of becoming 327 $aPart III AestheticsIntroduction; 7 Pleasure and knowledge: 'Orientalism' and filmic vision; Aesthetics: pleasure and the voice; Aesthetics: pleasure and the embodied eye; Aesthetics: pleasure and 'inter' space of corporeal theory; 8 The word and the flesh: text/image re-made; Reading matter; The book in the expanded field; 9 The place of time: Australian feminist art and theory; A glance at (ec)centric histories; Hesitation, elaboration and the emergent subject; Afterword - on Wonder; Notes; Bibliography; Index 330 $aWomen have been making art for centuries, yet their work has been seen as secondary or has gone unrecognized altogether. Women Making Art asks why this is so, and what it would take for us to realize the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilizes 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, emphasizing the diversity of women's art and 606 $aWomen artists 606 $aFeminism and art 615 0$aWomen artists. 615 0$aFeminism and art. 676 $a704.042 700 $aMeskimmon$b Marsha.$0610824 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786305503321 996 $aWomen making art$93787338 997 $aUNINA