The Oatmeal takes a shot at it…
Generally, when I find myself using the word “space” within feminist conversations, I usually mean Space, a type of catch all phrase that includes “community,” “culture,” and any theoretical premise I’m pretending to have learned in undergrad.
Luckily for us though, Lori Brown explores how feminists can use design, buildings, public policy, and politics to create feminist atmospheres — in actual spaces. Along with being a feminist architect extraordinaire, she is an Associate Professor at Syracuse Architecture, and author of Feminist Practices.
We spoke with Lori about the importance of architecture when it comes to abortion clinics, women’s shelters, and public space at large. By far one of our most fascinating conversations of late, this interview will leave you looking around your surroundings with new insight.
And now without further ado, the Feministing Five with Lori Brown!
The police violence we aren’t talking about.
“Rape victims act like victims,” and 17 other false myths about sexual assault.
Let’s get more statues of women in New York’s Central Park.
Why Senator Gillibrand doesn’t need to name names.
One of my favorite things about the AFROPUNK fest – besides the music, obviously – are the fashions. It’s legit the best outfit-watching of the year, and the festival is full of gorgeous people getting really creative with the ways they get dressed.
Rock star and role model Kim Gordon is best known for her band, Sonic Youth, but she’s also always been a visual and performance artist. For those who know Gordon primarily as a musician, “Is it My Body? Selected Texts,” a collection of her writings on art and performance published this past May by Sternberg Press, is intriguing. At the same time as Sonic Youth was reshaping the New York art scene in the ‘80s and ‘90s, Gordon was writing, in a refreshingly flat prose style across multiple genres, about the liminal spaces between art and music, object and performance, pop sensibility and post-medium/post-punk formations, masculine and feminine. Some of her texts are successful; others are, surprisingly, disappointing.
In her practice and in her theorizing, Gordon traces the effects of capital, technology, and sex on the production of entertainment experiences for an increasingly detached, and escapist consumer base. Read More »