Resumen
El futuro del feminismo depende no sólo de sus pasados, sino de cómo estos pasados se imaginan en pos de nuestro tiempo compartido. Los legados del feminismo son sus intervenciones en métodos de investigación histórica, sin embargo, como sugiere este número de Nierika, el feminismo está enfrentando un “momento de eliminación”. Los historiadores feministas permanecen atrapados en modelos divisivos, y decididamente no feministas, de pensar las historias desde los años 1970. Este ensayo intenta combatir la carencia de ejemplos del “hacer” la historia del arte feminista, articulando estrategias que interrumpen el proceso de escritura e investigación. Usando mis propias experiencias con mujeres artistas en México, demuestro cómo métodos de “grounded theory”, teorías postcoloniales y de movimiento sociales, proveen las técnicas necesarias para imaginar los pasados feministas que solidifican su importancia a un presente y futuro compartido.
Citas
Anzaldua, Gloria. This Bridge We Call Home: Radical Visions for Transformation. New York: Routledge, 2002.
Berger, Sherna Gluck (ed.). Women’s Words: the Feminist Practice of Oral History. New York: Routledge, 2001.
Charmaz, Kathy. Constructing Grounded Theory. London: Sage, 2014.
Elkins, James. Stories of Art. New York: Routledge, 2002.
Fusco, Coco (ed.). Corpus Delecti: Performance Art of the Americas. London: Routledge, 2000.
Giunta, Andrea. “Feminist Disruptions in Mexican Art, 1975–1987”, Artelogie 5 (2013).
Guha, Ranajit (ed.). Subaltern Studies I: Writings on South Asian History and Society. Delhi: Oxford University Press, 1982.
Hemmings, Clare. Why Stories Matter: the Political Grammar of Feminist Theory. Durham: Duke University Press, 2011.
Heywood, Leslie y Drake, Jennifer (ed.). Third Wave Agenda: Being Feminist, Doing Feminism. Minneapolis: Minnesota University Press, 1997.
Johnson-Odim, Cheryl y Strobel, Margaret (eds.). Expanding the Boundaries of Women’s History. Bloomington: Indiana University Press, 1992.
Johnston, Hank and Klandermans, Bert. Social Movements and Culture. Minneapolis: University of Minnesota Press, 1995.
Jones, Amelia. “Postfeminism, Feminist Pleasures, and Embodied Theories of Art”. En New Feminist Criticism: Art, Identity, Action. New York: Icon Press, 1994.
Jones, Amelia. Seeing Differently: a History and Theory Identification and the Visual Arts. New York: Routledge, 2012.
Kavka, Misha. “Feminism, Ethics and History, or What is the ‘Post’ in Postfeminism”. Tulsa Studies in Women’s Literature 21.1 (2002): 29–44, 30.
Laughlin, Kathlee y Gallagher, Julie. “Is it Time to Jump Ship? Historians Rethink the Waves Metaphor”, Feminist Formations 1, 22 (Spring 2010): 76-135.
Mayer, Mónica and Lerma, Victor. Dossier from of Las bodas y el divorcio at the Amory Center for the Arts. Pasadena: 2015.
Mayer, Mónica. “On Life and Art as a Feminist”, n.paradoxa, 9 (1999): 47–58.
McCaughan, Edward. “Navigating the Labyrinth of Silence: Feminist Artists in Mexico”, Social Justice, 34.1 (2007): 44-62.
McClintock, Anne; Mufti, Amir y Shoha, Ella (eds.). Dangerous Liaisons: Gender, Nation, & Postcolonial Perspectives. Minneapolis: University of Minnesota Press, 1997.
Mohanty, Chandra. Feminism without Borders: Decolonizing Theory, Practicing Solidarity. Durham: Duke University Press, 2003.
Mohanty, Chandra. Third World Women and the Politics of Feminism. Bloomington: Indiana University Press, 1991.
Morris, Rosalind (ed.). Critique of Postcolonial Reason in Can the Subaltern Speak?: Reflections on the History of an Idea. New York: Columbia University Press, 2010.
Mosquera, Gerardo (ed.). Beyond the Fantastic: Contemporary Art Criticism from Latin America. London: INIVA, 1995.
Nelson, Cary y Grossberg, Lawrence. Marxism and the Interpretation of Culture, Urbana : University of Illinois Press,1988.
Phalen, Peggy and Reckitt, Helena (eds.) Art and Feminism. London: Phaidon, 2001.
Pollock, Griselda. “After Feminism”. Lecture at Institute of Arts and Ideas (April 2014).
Pollock, Griselda. “Is Feminism a Bad Memory or a Virtual Future?” Lecture at the Universidad Iberoamericana. México (November 2014).
Pollock, Griselda. “Notes from a Feminist Front”. Lecture at the Museum of Modern Art, Feminist Future Symposium (May 2007).
Richard, Nelly. Masculine/Feminine: Practices of Difference(s). Durham: Duke University Press, 2004.
Roy, William G. Reds, Whites and Blues: Social Movements, Folk Music and Race in the US. Princeton: Princeton University Press, 2010.
Scott, James C. Domination and the Arts of Resistance: Hidden Transcripts. New Haven: Yale University Press, 1992.
Scott, Joan. “The Evidence of Experience”, Critical Inquiry 4, 17 (Summer, 1991): 773-797.
Scott, Joan. Women’s Studies on the Edge. Durham: Duke University Press, 2008.
Scott, Joan. Women’s Studies on the Edge. Durham: Duke University Press, 2008.
White, Hayden. “The Question of Narrative in Contemporary Historical Theory”. History and Theory 1, 23 (Feb 1984): 1–33.
Berger, Sherna Gluck (ed.). Women’s Words: the Feminist Practice of Oral History. New York: Routledge, 2001.
Charmaz, Kathy. Constructing Grounded Theory. London: Sage, 2014.
Elkins, James. Stories of Art. New York: Routledge, 2002.
Fusco, Coco (ed.). Corpus Delecti: Performance Art of the Americas. London: Routledge, 2000.
Giunta, Andrea. “Feminist Disruptions in Mexican Art, 1975–1987”, Artelogie 5 (2013).
Guha, Ranajit (ed.). Subaltern Studies I: Writings on South Asian History and Society. Delhi: Oxford University Press, 1982.
Hemmings, Clare. Why Stories Matter: the Political Grammar of Feminist Theory. Durham: Duke University Press, 2011.
Heywood, Leslie y Drake, Jennifer (ed.). Third Wave Agenda: Being Feminist, Doing Feminism. Minneapolis: Minnesota University Press, 1997.
Johnson-Odim, Cheryl y Strobel, Margaret (eds.). Expanding the Boundaries of Women’s History. Bloomington: Indiana University Press, 1992.
Johnston, Hank and Klandermans, Bert. Social Movements and Culture. Minneapolis: University of Minnesota Press, 1995.
Jones, Amelia. “Postfeminism, Feminist Pleasures, and Embodied Theories of Art”. En New Feminist Criticism: Art, Identity, Action. New York: Icon Press, 1994.
Jones, Amelia. Seeing Differently: a History and Theory Identification and the Visual Arts. New York: Routledge, 2012.
Kavka, Misha. “Feminism, Ethics and History, or What is the ‘Post’ in Postfeminism”. Tulsa Studies in Women’s Literature 21.1 (2002): 29–44, 30.
Laughlin, Kathlee y Gallagher, Julie. “Is it Time to Jump Ship? Historians Rethink the Waves Metaphor”, Feminist Formations 1, 22 (Spring 2010): 76-135.
Mayer, Mónica and Lerma, Victor. Dossier from of Las bodas y el divorcio at the Amory Center for the Arts. Pasadena: 2015.
Mayer, Mónica. “On Life and Art as a Feminist”, n.paradoxa, 9 (1999): 47–58.
McCaughan, Edward. “Navigating the Labyrinth of Silence: Feminist Artists in Mexico”, Social Justice, 34.1 (2007): 44-62.
McClintock, Anne; Mufti, Amir y Shoha, Ella (eds.). Dangerous Liaisons: Gender, Nation, & Postcolonial Perspectives. Minneapolis: University of Minnesota Press, 1997.
Mohanty, Chandra. Feminism without Borders: Decolonizing Theory, Practicing Solidarity. Durham: Duke University Press, 2003.
Mohanty, Chandra. Third World Women and the Politics of Feminism. Bloomington: Indiana University Press, 1991.
Morris, Rosalind (ed.). Critique of Postcolonial Reason in Can the Subaltern Speak?: Reflections on the History of an Idea. New York: Columbia University Press, 2010.
Mosquera, Gerardo (ed.). Beyond the Fantastic: Contemporary Art Criticism from Latin America. London: INIVA, 1995.
Nelson, Cary y Grossberg, Lawrence. Marxism and the Interpretation of Culture, Urbana : University of Illinois Press,1988.
Phalen, Peggy and Reckitt, Helena (eds.) Art and Feminism. London: Phaidon, 2001.
Pollock, Griselda. “After Feminism”. Lecture at Institute of Arts and Ideas (April 2014).
Pollock, Griselda. “Is Feminism a Bad Memory or a Virtual Future?” Lecture at the Universidad Iberoamericana. México (November 2014).
Pollock, Griselda. “Notes from a Feminist Front”. Lecture at the Museum of Modern Art, Feminist Future Symposium (May 2007).
Richard, Nelly. Masculine/Feminine: Practices of Difference(s). Durham: Duke University Press, 2004.
Roy, William G. Reds, Whites and Blues: Social Movements, Folk Music and Race in the US. Princeton: Princeton University Press, 2010.
Scott, James C. Domination and the Arts of Resistance: Hidden Transcripts. New Haven: Yale University Press, 1992.
Scott, Joan. “The Evidence of Experience”, Critical Inquiry 4, 17 (Summer, 1991): 773-797.
Scott, Joan. Women’s Studies on the Edge. Durham: Duke University Press, 2008.
Scott, Joan. Women’s Studies on the Edge. Durham: Duke University Press, 2008.
White, Hayden. “The Question of Narrative in Contemporary Historical Theory”. History and Theory 1, 23 (Feb 1984): 1–33.