Feminist Art Field School
Led in collaboration with the University of Victoria the Feminist Art Field School is an online course geared towards learners interested in gender, feminism and the porous boundaries between art, activist, and academic practice. Through a series of discussions and collaborations with artists, curators, scholars, and critical museum practitioners, the Field School aims to:
-Bolster understandings of the theoretical and practical roles that art institutions have played – historically and contemporaneously – in providing space for colonial and patriarchal oppressions and inequities to play out
-Implement arts-based pedagogies for exploring academic research and artistic practice with students and collaborators
-Host a series of public-facing conversation-driven-lectures that invite featured guests to engage questions of feminism, power, gender, sex, decolonization, anti-racism, and creative institutional critique
The ‘Field School’ is premised on current museum critique – for example, examinations of the institution and its possible role in social justice, which recognize the need to take an intersectional approach to the museum’s re-definition. As institutions acknowledge their foundations in colonial expansion and colonialism’s assumed hierarchies of gender, race, and class, many have undergone structural and philosophical shifts, pushing past the limitations imposed by the restrictions of their patriarchal origins. As the museum has become less object-focused and more committed to social justice, there has been a great deal of academic research about the museum emerging from fields, such as gender studies, that share its commitment to social change.
Introduction
Module 1: Chase Joynt & Michelle Jacques
Section 1
Art: Histories, Practices, Debates
Module 2: Allyson Mitchell & Deirdre Logue
Module 3: Sean Lee
Module 4: Alison SM Kobayashi
Section 2
Field: Depth, Vision, Land, Discipline
Module 5: Wanda Nanibush
Module 6: Tania Willard
Module 7: Nasrin Himada
Section 3
School: Teaching, Pedagogies, Training
Module 8: Syrus Marcus Ware
Module 9: Serena Bhandar
Module 1: Chase Joynt and Michelle Jacques
-Golding, V., 2019. Feminism and the Politics of Friendship in the Activist Museum. In Museum Activism (pp. 127-136). Routledge.
-Robert, N., 2014. Getting Intersectional in Museums. Museums & Social Issues, 9(1), pp.24-33.
-Joynt, C. and Rosskam, J., 2021. Toward a Trans Method, or Reciprocity as a Way of Life. Feminist Media Histories, 7(1), pp.11-20.
Module 2: Allyson Mitchell and Deirdre Logue
-Mullin, A., 2003. Feminist art and the Political Imagination. Hypatia, 18(4), pp.189-213.
-Sullivan, N. and Middleton, C., 2019. “Introduction” in Queering the Museum. Routledge.
-Flavelle, G., 2017. Affecting Activist Art: Inside Killjoy’s Kastle, A Lesbian Feminist Haunted House. InVisible Culture, (27).
Module 3: Sean Lee
-Cachia, A., 2018. The Politics of Creative Access: Guidelines for a critical dis/ability curatorial practice. In Interdisciplinary Approaches to Disability (pp. 99-108). Routledge.
-Papalia, C., 2018. An Accessibility Manifesto for the Arts. Canadian Art, 2.
-Chandler, E., Aubrecht, K., Ignagni, E. and Rice, C., 2021. Cripistemologies of Disability Arts and Culture: Reflections on the Cripping the Arts Symposium (Editors’ Introduction). Studies in Social Justice, 15(2), pp.170-179.
Module 4: Alison SM Kobayashi
-Rangan, P. 2021. “Inaudible Evidence: Counterforensic Listening in Contemporary Documentary Art” in Deep Mediations: Thinking Space in Cinema and Digital Cultures. Redrobe, K. and Scheible, J. eds., U of Minnesota Press.
-Soloski, A. 2018. “Review: Everyday Chatter Unveils a Mystery in “Say Something Bunny” New York Times.
Module 5: Wanda Nanibush
-Rickard, J., 2017. Diversifying sovereignty and the reception of Indigenous art. Art Journal, 76(2), pp.81-84.
-Rickard, J. 2020. Unintentional Inclusion and Indigenous Art ArtPractical.com.
-Nanibush, W. 2017. Close Readings: Anishinaabe-kwe and/or Indigenous feminist?CMagazine Issue 132.
Module 6: Tania Willard
-Collective, C.R., 1983. The Combahee River Collective Statement. Home girls: A Black Feminist Anthology, pp.264-74.
-Simpson, L.B., 2014. Land as Pedagogy: Nishnaabeg intelligence and rebellious transformation. Decolonization: indigeneity, education & society, 3(3).
-Araeen, R., 2009. Ecoaesthetics: A Manifesto for the Twenty-First Century. Third Text, 23(5), pp.679-684.
Module 7: Nasrin Himada
-Philip, M.N., 2003. Interview with an Empire.”Assembling Alternatives: Reading Postmodern Poetries Transnationally, pp.195-206.
-Msimang, Sisonke. 2021. “Grief is Another Word for Love”. Guernica Magazine Online.
-Kabra, F. 2018. Ruanne Abou-Rahme and Basel Abbas in Conversation. Ocula Online.
Module 8: Syrus Marcus Ware
-Tuck, E., 2009. Suspending damage: A letter to communities. Harvard Educational Review, 79(3), pp.409-428.
-Ware, S.M., 2017. All power to all people? Black LGBTTI2QQ activism, remembrance, and archiving in Toronto. TSQ: Transgender Studies Quarterly, 4(2), pp.170-180.
-Choi, T., Labbe, A., Segarra, A., Sweeney, E. and Ware, S.M., 2021. Disability and Deaf Futures (Dispatch). Studies in Social Justice, 15(2), pp.334-343.
Module 9: Serena Bhandar
-Bhandar, S. et al. “What Else Might be Possible? Towards a Decolonial Criticism in C Magazine.
-Bhandar, S. “Otherhood” in forthcoming The Liminal Chrysalis: Imagining Reproduction and Parenting Futures Beyond the Binary.
-Thom, Kai Cheng. A Better World: Transformative Justice and the Apocalypse.
