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Although I’ve heard the term “fourth wave feminism” referenced in casual conversation, its contours remain fuzzy as a movement. A quick Google search reveals that the term has been bandied about for at least the last four years.
A critics stance evolves out of a personal worldview marked by trauma; the personal is political, as second-wave feminism tells us. As a feminist, my understanding of the movement cannot be separated from my lived female experience.
Some critics accuse contemporary art since the 1990s of producing no definable movements. If pressed, they might concede that relational aesthetics represents one trend.
Organisms ranging from the mundane to the fantasticalbats, cats, and neon rabbits to GMOs, avatars, and cyborgsfill the pages of Nature, the latest volume in Whitechapels Documents of Contemporary Art series.
In their 1968 essay The Dematerialization of Art, John Chandler and Lucy R. Lippard argued that the developments of Conceptualism would transform art criticism. If the object becomes obsolete, objective distance becomes obsolete, they wrote.
Over the past two decades, Chris Kraus has channeled the clichéd advice to “write what you know” into high formal and philosophical stakes: a radical subjectivity that jettisons the fiction of critical distance to embody the feminist ethos “the personal is the political.”
Brooklyn-based writer Ben Davis sat down with Art Books contributor Wendy Vogel on a Sunday morning at the Rail Headquarters to discuss his book 9.5 Theses on Art and Class (Haymarket, 2013)