SpectreOfReflections/data/books/catalog.json

{"a7e8ca7f-4295-4660-a0b8-759d88968f54": {"title": "Feminist City: Claiming Space in a Man-Made World", "title_sort": "Feminist City: Claiming Space in a Man-Made World", "pubdate": "2020-07-06 22:00:00+00:00", "last_modified": "2021-08-28 07:23:53.596885+00:00", "library_uuid": "df71daf7-e9d9-424c-9033-a272404d1bf9", "librarian": "Tatiana Schucht", "_id": "a7e8ca7f-4295-4660-a0b8-759d88968f54", "tags": [], "abstract": "<div>\n<p><span style=\"font-weight: 600; font-style: italic\">Feminist City</span><strong> is an ongoing experiment in living differently, living better, and living more justly in an urban world.</strong> </p>\n<p>We live in the city of men. Our public spaces are not designed for female bodies. There is little consideration for women as mothers, workers or carers. The urban streets often are a place of threats rather than community. Gentrification has made the everyday lives of women even more difficult. What would a metropolis for working women look like? A city of friendships beyond Sex and the City. A transit system that accommodates mothers with strollers on the school run. A public space with enough toilets. A place where women can walk without harassment. </p>\n<p>In <em>Feminist City</em> , through history, personal experience and popular culture Leslie Kern exposes what is hidden in plain sight: the social inequalities built into our cities, homes, and neighborhoods. Kern offers an alternative vision of the feminist city. Taking on fear, motherhood, friendship, activism, and the joys and perils of being alone, Kern maps the city from new vantage points, laying out an intersectional feminist approach to urban histories and proposes that the city is perhaps also our best hope for shaping a new urban future. It is time to dismantle what we take for granted about cities and to ask how we can build more just, sustainable, and women-friendly cities together. **</p></div>", "publisher": "Verso", "authors": ["Leslie Kern"], "formats": [{"format": "epub", "file_name": "Feminist City_ Claiming Space in a Man-Mad - Leslie Kern.epub", "dir_path": "Leslie Kern/Feminist City_ Claiming Space in a Man-Made World (1)/", "size": 569765}], "cover_url": "Leslie Kern/Feminist City_ Claiming Space in a Man-Made World (1)/cover.jpg", "identifiers": [{"scheme": "isbn", "code": "9781788739818"}, {"scheme": "amazon", "code": "1788739817"}], "languages": ["eng"]}, "68aae4c5-a93f-43d1-9374-94a5ad759a78": {"title": "Artificial Hells: Participatory Art and the Politics of Spectatorship", "title_sort": "Artificial Hells: Participatory Art and the Politics of Spectatorship", "pubdate": "2012-07-23 22:00:00+00:00", "last_modified": "2021-08-28 07:27:04.745714+00:00", "library_uuid": "df71daf7-e9d9-424c-9033-a272404d1bf9", "librarian": "Tatiana Schucht", "_id": "68aae4c5-a93f-43d1-9374-94a5ad759a78", "tags": [], "abstract": "<div>\n<p>A searing critique of participatory art by an iconoclastic historian.Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as \u201csocial practice.\u201d Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.Since her controversial essay in Artforum in 2006,