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Feminist Insurgences takes the first steps towards mapping the previously unknown territory of the feminist art movement and women’s art in Norway and Sápmi in the 1970s. By examining how women artists challenged the existing institutional framework and created new structures, this edited volume offers groundbreaking new insights into Nordic and European transnational feminist history and suggests new premises for cultural heritage. It explores overlooked work by women in the visual arts, theater, dance, and documentary film, as well as critically examining art history, its institutions, and their collecting practices by studying women’s activism and exhibitions.

• Groundbreaking contribution to Nordic and European transnational feminist history
• Investigates how women artists interfered with the existing institutional framework and built new structures
• Explores overlooked work by women in the visual arts, theatre, dance, and documentary film

Andy Warhol began using wallpaper as an artistic medium in the mid-1960s. Despite the extensive scholarship on his work, this aspect of his oeuvre has received relatively little attention in research. This book examines these overlooked pieces to highlight key shifts in his artistic practice. Wallpaper and interior decoration were central to Warhol's transition from graphic designer to Pop artist and his complex engagement with painting. The medium’s affordability and mass-producibility enabled Warhol to challenge the conventions of the traditionally serious, heteronormative, and male-dominated realm of painting. These medial characteristics align with Warhol’s self-fashioning as an artist who deliberately employed techniques of queer opacity and disguise.

• First monographic work on Andy Warhol’s wallpapers
• New insights gained from an in-depth exploration of previously overlooked archival material
• Innovative methodology combining queer theory and masculinity studies

During the last decades of the 19th century, women used the camera, still a new technological apparatus, to establish independent lives as professional photographers. Women photographers had a particularly strong position in the Nordic countries, where photography became a tool with which to attain personal, economic, and political independence. Many hired only women assistants and remained unmarried, and some lived in lifelong relationships with women partners. Moreover, these women pioneers belonged to a generation which, for the first time, had the power to define their own visual representation as well as that of other women. Through a wide range of stories about individual photographers, this book presents a counter-history to existing histories of photography, demonstrating the medium’s liberating potential for women for the first time.

• Counter-narratives of women’s independence in photographic histories
• Bringing to light previously unknown Nordic women photographers
• With contributions from leading scholars in photography studies from Denmark, Norway, Sweden, Finland and Iceland

This is the first major publication in any language to re-evaluate the problematics that enmesh feminism, gender, and contemporary Nordic art. The book probes the shifting nature of the "Nordic" to challenge its popular image as liberal when it comes to genders, sexualities, and ethnicities. It questions the so-called wave model to suggest instead a history of sporadic (re)surfacings and submersions of feminism’s impact on Nordic art over the last sixty years. The intersectional, transhistorical, and transcultural focus nuances the Nordic and demystifies common tropes while reflecting the principal concerns of feminist art scholars working today: the welfare model; gender, sexuality, and the body; transculturality and decolonialization, and posthuman feminism and glitches.

• Vigorously intervenes in and re-evaluates the problematics enmeshing feminism, gender, and contemporary Nordic art
• With a special focus on decolonialism and transculturality

Psychoanalysis, the study of the unconscious, has provided artists in the 20th and 21st centuries with both a visual language and valuable psychological tools to address the social phenomenon of violence against women. The volume presents groundbreaking research on various representations of gender-based violence in art. The book aims to examine the cultural constructions embedded in this phenomenon and to explore the different strategies that have been developed on different continents to counteract it. The artists featured are Oskar Kokoschka, María Izquierdo, Grete Stern, Dorothea Tanning, Ana Mendieta, Kiki Kogelnik, Marina Abramović, Soli Kiani, Sigalit Landau, and Hava Raucher, as well as the filmmaker Ruth Beckermann and the philosopher Hélène Cixous.

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With contributions in English and German and German and English abstracts

This volume investigates the positions of women artists, their institutional frameworks, and the role of other female actors in the art world in Ibero-America and on the Iberian Peninsula from the 19^th to the late 20^th century, focusing especially on the interweaving of post-/decolonial and feminist approaches. Although women artists could not simply act outside existing power systems, they could mirror them in their works – and thereby challenge them. The overlapping of different regimes of subalternity led to specific strategies of self-empowerment, such as the formation of networks. What role does the fact play that both the Iberian Peninsula and the Ibero-American countries were perceived as a cultural "periphery", although they were simultaneously divided by the colonial wound?

Making queer and feminist positions visible in art is an aesthetic strategy with a political impact that marks a transition from a state of invisible impotence to powerful visibility and political relevance. This volume brings together theoretical contributions and artistic interventions by actors in the field of queer and feminist art, addressing the conditions that confront queer and feminist artists in different geographical and temporal contexts. They examine the potential of art exhibitions and art criticism as media of visualization and concealment, and they also explore the possibilities of virtual environments and feminist graphic design, as well as presenting various ways of making marginalized art visible.

The masculine machine-man, associated with notions of a virile, hyper-muscular male body since the 1980s, is a thing of the past in contemporary art; the author shows this on the basis of representations of male, masculine and queer bodies since the 1990s. While the cyborg figure generally refers either to a militaristic, self-contained masculinity or to a feminine, fluid resolution, an analysis of male-technological bodies in contemporary art is still overdue. The author locates the bodies depicted in the debates on a post-human dissolution of body and gender, while enquiring how these are interwoven with current discussions on new concepts of masculinity and gender.

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This publication is dedicated to the changes in masculinity/ies that visual artists have been addressing since the 1970s and are currently working on more than ever. Contributions from art and other cultural studies illuminate the diverse artistic processes by which the idea of masculinity as a seemingly universal, irrefutable constant is being successively replaced by the assumption of a plurality of masculinities. The volume comprises four sections: Postphallic Masculinity, Queering Masculinities, Optimised Masculinity/ies and Vulnerability. Based on the premise that male bodies do not have an intrinsic essence but are socially constructed and thus transformable, visions of future masculinity(ies) are discussed and concretised.