Call for papers for n.paradoxa:
international feminist art journal

n.paradoxa is the only international feminist art journal in the world.
The focus is on the work of contemporary women artists (visual arts,
post-1970) and readings of their work in relation to feminist theory.
Contributions, published in English, are welcome from women writers,
artists and theoreticians anywhere in the world. More information about
n.paradoxa can be found at www.ktpress.co.uk. Current volume is Material
Histories (July 2009) and next volume in print is Pleasure (Jan 2010).

Call for Papers for forthcoming Volumes in print

If you would like to submit an article on contemporary women's art
practices (visual arts only) or an aspect of feminist art theory, an
interview with a woman artist or a feature to n.paradoxa, please contact
the editor. Do not send finished articles. Articles are commissioned
through negotiation with the editor: k.deepwellukonline.co.uk
n.paradoxa publishes contributions from women artists and critics from
anywhere in the world.

Please send, well in advance of the copy deadline, an outline (1-2
paragraphs) and a short resume (1 page only).
P lease also outline the relation of your proposal to the theme of a
particular volume.

Future volumes:

Volume 26: Feminist Pedagogies (July 2010)
(Copy deadline: 1 May 2009, to be published July 2010)

How are we teaching students about feminist art practices or a history of
the woman's art movement since the 1970s or about feminist theory's
relation to art? What constitutes "the" feminist curriculum, and its most
paradigmatic examples of artworks and set texts? Are there "canonical"
methods and approaches which define feminist art and are these singular or
plural? Can 'feminist art' be taught as a practice: in the studio or in
the lecture room? Are independent workshops in/outside of cultural
institutions (museums and galleries) a more effective means for
transmitting/generating feminist ideas or artworks? As some of the most
active feminist professors from the 1970s (aged between 55-75) have
retired or approach retirement from University positions, what will become
of their teaching methods or their innovations? What legacies of their
feminist teaching, schools, workshops or initiatives remain to generate
new scholarship in this field?
In this volume, polemical contributions by women artists, critics or
historians which explore what might constitute a feminist pedagogy in art
education since the 1970s (at University level or as professionals) are
welcomed as well as discussion of innovative examples to change curricula;
the legacies set by important feminist teachers; and explorations of
readings of feminist art since the 1970s which have generated new feminist
artworks.

Volume 27: Women's Work (Jan 2011)
(Copy deadline: 1 Nov 2010, to be published Jan 2011)

'A woman's work is never done'. Women's work is often defined as
repetitive, dull, endless and never-ending: even, as the opposite of
"free" creative cultural labour of the artist. This volume will
investigate how women's labour appears as a subject in/of representation
in contemporary women artists' works and in its relation to women's
employment in the labour markets of the world (both legal and illegal work
in factories, shops, service industries, agriculture, black markets and
the sex industry). When women's role in the paid labour market is dominant
in the service industry and in many lowly paid, menial tasks - all
essential for maintenance of the economy or environment - how can a
feminist critique of labour or the feminist critique in art provide a
means to question or challenge oppressive practices in paid work or the
family. Women's work - outside traditional employment or as a
characteristic of it - is often defined as the small and insignificant
chores which are needed to maintain, shop, clean and cook for a family.
This has often been the subject of feminist art practices which take these
essential tasks as a means to question the values attributed to waged
labour. Defining the shifts of women's work in a globalised economy -
characterised by migration and exploitation - unites them in common
frustrations about their "local" situation but how have feminist readings
of art work about these subjects emerged in developed and developing
economies in rapidly changing and often fragile economies.

Katy Deepwell

Editor of n.paradoxa
KT press
38 Bellot St
London
SE10 0AQ
UK
Tel/Fax: +44 (0) 208 858 3331
Order n.paradoxa at www.ktpress.co.uk
Sales: ktpressktpress.co.uk
Editorial: k.deepwellukonline.co.uk