Who Won in 1989? Approaching the Canon of Czech Art History from a Feminist Perspective

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F24%3A10482822" target="_blank" >RIV/00216208:11210/24:10482822 - isvavai.cz</a>

Výsledek na webu

<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=FaZOGF.Q3l" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=FaZOGF.Q3l</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1017/slr.2024.378" target="_blank" >10.1017/slr.2024.378</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Who Won in 1989? Approaching the Canon of Czech Art History from a Feminist Perspective

Popis výsledku v původním jazyce

Drawing on the classic question of feminist art history, this article asks how and by whom the contemporary canon of Czech art history was constructed, and when the exclusion of women artists of the 1980s generation from it took place. It shows that the 1960s generation of women artists emerged from the disruption of the traditional gender order in the Stalinist era. In contrast, the generation of women artists who entered the art scene in the 1980s was disadvantaged by the declining power of art institutional structures and the growing importance of informal networks for career success in late socialism. Their lack of social capital, combined with the re-emergence of macho culture in the 1980s art scene, the persistence of traditional gender roles in the home, and the loss of more substantial state support for artistic production after 1989, led to their &quot;invisible&quot; role in the post-1989 art world.

Název v anglickém jazyce

Who Won in 1989? Approaching the Canon of Czech Art History from a Feminist Perspective

Popis výsledku anglicky

Drawing on the classic question of feminist art history, this article asks how and by whom the contemporary canon of Czech art history was constructed, and when the exclusion of women artists of the 1980s generation from it took place. It shows that the 1960s generation of women artists emerged from the disruption of the traditional gender order in the Stalinist era. In contrast, the generation of women artists who entered the art scene in the 1980s was disadvantaged by the declining power of art institutional structures and the growing importance of informal networks for career success in late socialism. Their lack of social capital, combined with the re-emergence of macho culture in the 1980s art scene, the persistence of traditional gender roles in the home, and the loss of more substantial state support for artistic production after 1989, led to their &quot;invisible&quot; role in the post-1989 art world.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Slavic Review

ISSN

0037-6779

e-ISSN

2325-7784

Svazek periodika

83

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

US - Spojené státy americké

Počet stran výsledku

20

Strana od-do

318-337

Kód UT WoS článku

001389851500040

EID výsledku v databázi Scopus

2-s2.0-85214534474