This paper analysis how British feminist Activism is shown in Digital Spaces. In the next chapters, I will focus on how British feminists both use the digital space as the medium of their agenda and examine it as a subject of their art and whether and if so, how their works contrast with other Western feminisms.
After outlining features characteristic of contemporary British feminist activism and art and their relation to the digital space, I will provide and analyze some examples of feminist analogue and digital art on the internet. Regarding the fact that the majority of scholars consider the fourth wave to have been initiated by the rise of the internet and, more concretely, social media, it is the starting point of this paper with the other waves being neglected. The first part will cover theory, whereas the second one will then closely look at how this is realized in practice. Whereas there is a relative wealth of papers examining feminism and the digital space, the research on how all this looks online is rather limited, requiring a more practical and extensive approach.
Table of Contents
Introduction
1. Contemporary British Feminist Activism (and/in Digital Space)
1.1. (British) Modern Feminist Ideas and Politics / Forth Wave of Feminism
1.2. Feminist Activism and/in the Digital Space
1.2.1. British Online Feminism
1.2.2. Feminist Art and/in Digital Space
2. British Feminist Art on the Internet
2.1. Analogue Art
2.1.1 Online Galleries/Websites
2.1.1.1. 100% Women, A Room of One’s Own
2.1.2. Databases
2.1.2.1. N.Paradoxa
2.1.3. Individual Websites / Blogs
2.1.3.1. Artisanal art
2.2. Digital Art
2.2.1. Websites
2.2.1.1. Girlgaze
2.2.2. Individual Websites
2.2.2.1. Comics
2.2.3. Social Media
2.2.3.1. Digital Illustrations
2.2.3.2. Photography
2.2.3.3. Videography
Conclusion
Objectives & Core Themes
This paper aims to contribute to a feminist art history by examining how British feminists utilize digital spaces as both a medium for their political agenda and as a subject of artistic exploration. The research evaluates how these contemporary digital practices relate to and distinguish themselves from other Western feminist movements, focusing specifically on the era of the fourth wave of feminism.
- The role of the internet and social media in modern feminist activism.
- The use of "do-it-yourself" digital strategies for political discourse.
- Intersectionality and inclusivity in contemporary British feminist art.
- The emergence of new digital forms of feminist art and critique.
- The relationship between the "male gaze" and digital representations of women.
Excerpt from the Book
1.2. Feminist Activism and/in the Digital Space
Suggesting the modern feminists’ usage of digital space - for e.g. marches and demonstrations - as the distinguishing feature of the fourth wave, scholars even almost unanimously agree on the status of the fourth wave as an exclusively online phenomenon. In general, some of the many advantages of and unique to the digital social networking are: accessibility to everyone, its versatility and the possibility to reach millions of other users in a groundbreakingly fast time at a very low price. This has significantly democratized communication and facilitated participation in discourse for previously underrepresented groups, allowing for more diversity. In feminist contexts, social media is even considered highly politicized, designated “as spaces with a [certain “political” character in self-representation] in which gendered representations are shaped in specific mediated contexts” (Caldeira 4) and therefore, often referred to as “do-it-yourself-feminism” (Drüeke 1) and categorized as “everyday activism” (Vivienne). Besides the vernacular aspect inherent to social media, it makes for a space where persons from entirely different cultural and socioeconomic backgrounds can meet. (Johnson 10) This enables “call-out culture”, which renders visible oppressive behaviors, be it homophobic, xenophobic, sexist or anti-LGBT attitudes channeled on the internet. (Arditi) (Mendes 18) As the expression already gives away, along with participating, in actively engaging in social media activism by “talk[ing] back” (Keller 4) and sharing their stories and being able to publicly hold their assailants accountable. In so doing, women are provided with a feeling of togetherness and the hope for justice, contributing to the creation of a collective narrative based on individual experiences, fostering a feeling of community and thus, bringing forth social change in the form of elimination of patriarchy.
Summary of Chapters
Introduction: This chapter establishes the necessity of a feminist art history and outlines the focus on how British feminists use the digital space as a medium for their agendas and as a subject for their work.
1. Contemporary British Feminist Activism (and/in Digital Space): This chapter defines the fourth wave of feminism and explores how social media has transformed activism into "networked feminism," fostering a space for intersectional discourse and "everyday activism."
2. British Feminist Art on the Internet: This chapter analyzes various examples of analogue and digital feminist art, ranging from online databases and 3D embroidery to digital illustrations, photography, and short films, highlighting their role in challenging patriarchal structures.
Conclusion: This final section synthesizes the findings, confirming that while British feminist art is eclectic and diverse, it remains united by the common goal of making the personal political through shared individual experiences in the digital sphere.
Keywords
Feminism, Fourth Wave, British Feminist Art, Digital Space, Social Media, Activism, Intersectionality, Online Campaigns, Gender Equality, Networked Feminism, Art History, Everyday Sexism, Digital Media, Feminist Critique, Representation.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines how contemporary British feminists engage with the digital space, utilizing it both as a medium for their activism and as a subject for their artistic expression.
What are the central themes addressed in the work?
Key themes include the rise of the fourth wave of feminism, the use of social media for political mobilization, the democratization of discourse, and the creation of intersectional feminist art that challenges traditional patriarchal norms.
What is the main research goal?
The primary goal is to contribute to a feminist art history by analyzing how British feminist art is realized in practice within the online, digital environment.
What scientific methodology is applied here?
The paper employs a qualitative analytical approach, examining existing scholarly theories on feminism and digital media, and applying them to practical case studies of digital and analogue feminist art.
What content is explored in the main body of the paper?
The main body covers the theoretical foundations of the fourth wave of feminism, followed by a detailed analysis of artistic practices like websites, digital illustrations, comics, photography, and videography.
Which keywords best characterize this work?
The work is characterized by terms such as fourth wave feminism, digital space, networked feminism, intersectionality, and artistic activism.
How does the author define the fourth wave of feminism?
The author identifies it as an emerging phase characterized by its reliance on the internet and social media, serving as a platform to challenge everyday sexism and create global, inclusive communities.
What specific role does the "digital gaze" play in this study?
The study highlights how digital art platforms allow artists to subvert the traditional "male gaze" by enabling women and non-binary individuals to present their own perspectives, effectively transforming from objects into subjects.
How do artists like Paula Knight or Alice Skinner approach feminist themes?
Artists like Paula Knight address issues of fertility and reproductive struggle through comics, while Alice Skinner utilizes illustrations to satirically critique capitalist and patriarchal structures like the "Pink Tax."
- Quote paper
- Victoria Schatara (Author), 2020, British Feminist Activism in Digital Space. Analogue and Digital Art, Munich, GRIN Verlag, https://www.grin.com/document/947397
