Exploring the crisis of subjectivity through the interplay between feminist ideology and historical consciousness in ‘postsocialist art history’, or the emergence of the Millennial art historian from the contradiction between the autonomization and privatization of culture
We are presenting texts published in “Artelogie” – Numéro double spécial 22 (2024): Violencia(s), frontera(s) y sentimiento(s): formas, sentidos y significados de la violencia en nuestra América. You can access all the issue here.
Author: Natalya Antonova
Abstract:
Consciousness-raising – positioned as the epitome of feminist method and its end goal – narrows feminist historical consciousness to an individual or group identity and overlooks the question of ideological formation: this is one of the markers of the crisis of subjectivity in feminist theory, as this essay suggests. The essay reveals the critical role of, and historicizes, feminist ideology in the Anglophone feminist critique of feminist cultural production evolving since the late 2000s in “postsocialist art history”. The feminist critique of feminist cultural production has raised the pertinent question of the autonomy of the art historian amid the ongoing privatization of culture inflicted by the global impasse of socialist politics since at least the last quarter of the 20th century and sustained by philanthropic capital. Emerging researchers of feminist art still face this historical conundrum.
