'Is gender implicated in how art does its work, or is defined, as work, in global space? Is a global imperative exclusive to capitalism's planetary expansion or does it also animate oppositional practices in art and curating? And what is new in the gendered paradigms of art after the fall of the Berlin Wall, in a persistently divided Europe and elsewhere?

Angela Dimitrakaki addresses these questions through an analysis of artistic labour, the sexualisation of migration as a relationship between Eastern and Western Europe, the post-documentary aesthetic of the feminist video essay, the rise of female art and curatorial collectives, the spectral re-appearance of the male working class in the museum and globalisaton's "bad boys". A central aim of the book is to demonstrate that contemporary art and theory's turn to labour and economic relations around 2000, compels a reviewing of feminism's attachment to the cultural subject, practices and methodologies privileged by postmodernism.' - excerpted from back cover.

Including a bibliography and an index.

Alternative title

Rethinking Art's Histories

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Chapter headings
Introduction: Capital, Gender and the Work of Art: An Intervention of, and in, Materialist Feminism
Feminist Politics and Art History: From Postmodernism to Global Capitalism
'The Gender Issue': Lessons from Post-Socialist Europe
Travel as (Gendered) Work: Global Space, Mobility and the 'Woman Artist'
Gendered Economies and Knowledge Production: Ursula Biemann's Video Essays and Materialist Feminism for the Twenty-First Century
Masculinity and the Economic Subject in Contemporary Art
Acting on Power: Critical Collectives, Curatorial Visions and Art as Life
Postscript: What is a Feminist Beginning
Gender, artWork, and the Global Imperative: A Materialist Feminist Critique
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Gender, artWork, and the Global Imperative: A Materialist Feminist Critique