Livre - Feminism and museums

VOLUME TWO REILLY Maura, Executive Director, National Academy of Design, New York City, Foreword, p. 16 ASHTON Jenna C., Founder and Creative Director, Digital Women’s Archive North, Manchester, UK, Introduction, p. 42 1. CURATORIAL AND ARCHIVAL DISRUPTION Chapter One – YIAKOUMAKI Nayia, Head of Curatorial Studies and Curator of the Archive Gallery, Whitechapel Gallery, London, Guerrilla Girls: Is it even Worse in Europe?, p. 58 Chapter Two – ANTROBUS Helen, Development Officer People’s History Museum, Liverpool, UK, For Most of History, Anonymous Was a Woman, p. 68 Chapter Three – KEENAN MCDONALD Charlotte, Curator of British Art, Walker Art Gallery, Liverpool, UK, Employing Queer Feminist Strategies at the Walker Art Gallery, p. 90 Chapter Four – UNWIN Melanie, Deputy Director, Parliamentary Art Collection, London, New Dawn: Celebrating Feminist Collective Action in the Landscape of the Heroic Male Parliamentarian, p. 106 Chapter Five – TYLER Linda, Director, Centre for Art Studies, University of Auckland, New Zealand, A Different View: Making an Art Exhibition with a Feminist Agenda, p. 138 Chapter Six – CARTER Sarah Anne, Curator and Director of Research, Chipstone Foundation, Wisconsin, USA, Milwaukee Art Museum, Mrs. M’s Cabinet: Imagining a Feminist Period Room, p. 146 Chapter Seven – BROWER Matthew (Director of Museum Studies, University of Toronto), XIAODONG Fu (Curator and Critic, Beijing) and YAN Zhou (Independent Curator), Through the Body: Lens-Based Works by Contemporary Chinese Women Artists, p. 184 Chapter Eight – DIRIENZO Megan, Interpretive Planner, Detroit Institute of Arts, USA, Frida’s Choice: How Interdisciplinary Museum Work Disrupts Patriarchal Art Historical Narratives, p. 196 Chapter Nine – GLUZMAN Georgina, Assitant Professor of Art History and Gender Studies, Universidad de San Andrés, Buenos Aires, Argentina, Different, Better, and Rebellious. Women Artists in Three Contemporary Art Exhibitions in Argentina, p. 210 Chapter Ten – LOW Yvonne, Lecturer in Asian Art, Power Institute, University of Sydney, Australia, Recovering Women’s Subjectivities: Siti Ruliyati and the “Private” Transformations of Academic Realism, p. 246 Chapter Eleven – LEIGHTON Sophie, Curator, Freud Museum, London, Women in the Freud Museum: Artists’ Responses to Sigmund and Anna Freud’s Home and Legacy 2. EDUCATION AND ACTIVISM Chapter Twelve – ALLEN Felicity, Artist and Writer, Re-visiting, Re-situating Gallery Education: Education as a Strategy for Expandingthe Concept of ‘Public’ in an Era of Increasing Privatisation, p. 272 Chapter Thirteen – COOK Kate (Senior Lecturer in Law of The Sylvia Pankhurst Gender Research Center, Manchester Metropolitan University ) and MAY Sarah, (Manager, John Rylands Research Institute, University of Manchester), Showing Our Deeds: Activism and Exhibition Space, p. 312 Chapter Fourteen – EHRLICH Cheri Eileen, Educator and Scholar in Art Museum Education, Elizabeth Sackler Centre for Feminist Art, Teens’ Take on Co-Educational Learning, p. 346 Chapter Fifteen – EVANS Laura, Assistant Professor of Art History and Art Education, University of North Texas, EmBODYing the Museum: Feminist Embodied Learning in Art Museum Education, p. 372 Chapter Sixteen – BUNTING Kirsty (Senior Lecturer in English Litteraure) and MCCABE Orlagh (Programme and Subject Leader for Chilhood and Youth Studies), Manchester Metropolitan University, Feminism, the Vote and Youth Engagement, p. 404 Chapter Seventeen – CROSS Lauren, Lecturer in Interdisciplinary Art and Design Studies, Texas Woman University, WoCA Projects: How An Artist Intervention Building Community, p. 420 Chapter Eighteen – TSEKOU Marina (Education Curator) and VALKANA Anina (Curator), National Museum of Contemporary Art and BOTSFORD Eileen (Public Artist), Athens, Greece, Without Borders – “Project Home” at The National Museum of Contemporary Art, Athens, p. 434 Chapter Nineteen – SHOJAEE Mansoureh, Human Rights Activist and Writer, Mansoureh Shojaee, Research Associate, UV, Amsterdam, The Iranian Women’s Rights Museum and Library, Creating a Museum and Library for Iranian Women’s Rights, p. 446 3. HERSTORIES Chapter Twenty – LEWIS R.M. (Deputy Director, Angelou Centre) and WIESER Leonie (Northumberland University), Newcastle-on-Tyne, Re-envisioning Hidden Herstories: Reframing the Representation of Black and Minority Women’s Heritage, p. 454 Chapter Twenty-One – MILES-COHEN Shari (Senior Director, Women’s Programme Office, American Psychological Association), FAYE Cathy (Assistant Director, Cummings Center for the History of Psychology) and RUTHERFORD Alexandra (Historian of Psychology, York University, Toronto), I Am Psyched! Using the Museum Experience to Engage Girls of Colour with Psychology, p. 488 Chapter Twenty-Two – LAURIA-BLUM Julia (Archivist, Cradle of Aviation Museum) and ADELMAN Ashley (Artistic Director, Infinite Variety Productions), The WASP Exhibit at the American Airpower Museum, p. 516 Chapter Twenty-Three – PARRY Manon S. (Assistant Professor of Public History) and VAN HOUTEM Jasmijn, University of Amsterdam, Exceptional or Excluded: Women’s History in the Netherlands, p. 532 Chapter Twenty-Four – LEDERMAN Erika, Cataloguer of photographs, V&A Museum, London, Isabel Agnes Cowper, Official Museum Photographer at the V&A Museum, p. 560 Chapter Twenty-Five – LENNON Rachael, Curator, Challenging Histories Programme, National Trust, Challenging Histories: Exploring Gender and Sexuality in the National Trust, p. 602 Chapter Twenty-Six – ESTELLA-NORIEGA Iñaki, Independent Researcher, Museum of Contemporary Art, Spain, Feminism and Desacuerdos: Spanish Feminist Art and Museums, p. 618 Chapter Twenty-Seven – ELLIOT Fraser (Independent Researcher) and FEINSTEIN Sarah (Institute of Cultural Practice, University of Manchester), University of Manchester, The Grammar of Our Glamour: Museum Retrospectives as Feminist Intervention and the Video Games of Theresa Duncan, p. 632 Chapter Twenty-Eight – CROMPTON-REID Lucy, Chief Executive, Wikimedia UK, Closing the Gender Gap on Wikimedia, p. 666 About the Editor, p. 690 About the Authors, p. 692 KERSHAW Anne Louise, Co-Director, Instigate Arts, Manchester, The Same Waves Across Different Forms (2013), p. 707 Also from MuseumEtc, p. 712 Colophon, p. 716