Feminism. Art. Capitalism.

‘At this moment of real and perceived impasses, techno-anxieties, and collective exhaustion, Dimitrakaki offers an unflinching and salutary critique of feminist art history and theory and their role in the concealment of labour in the work of art’

‘Angela Dimitrakaki stands among the foremost Marxist-Feminist art historians of our time. With extraordinary scope and ambition, this book maps the terrain on which contemporary feminist art discourse is being shaped. Conceptually bold, historically grounded and politically incisive, it is essential reading for anyone engaged with art, feminism and anticapitalism. A landmark contribution to a twenty-first century social history of art’

‘An intellectual tour de force, re-energizing mutually-critical differences, while demanding renewed alliance between Marxist and Feminist analysis of the technological-ideological structures in contemporary capitalist conditions of labour and of artistic practice as critical interventions in what Dimitrakaki theorizes as our ‘Long Modernity”

‘As ‘feminist art’ has become yet another art historical category with high market value, Dimitrakaki’s book offers essential tools to disentangle feminist artistic practices from capitalism’s capture. A much-needed analysis of feminism’s transformative potential, in and beyond art’

‘Applying personal reflection and rigorous investigation, Dimiktrakaki unflinchingly examines the contradictory intersection of contemporary art, politics, and ideology in bold, inspired analysis that positions her as a leading intellectual while delivering a much-needed critical work to facilitate insight and resistance’

‘This book sets out its arguments with shattering clarity. By offering complications instead of banalities, questions rather than endings, it cuts through the bullshit and cracks open the field of feminist art history to new possibilities’

Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh. She directs the MSc Modern and Contemporary Art and leads The Global Contemporary Research Group. She is the author of Gender, ArtWork and the Global Imperative (MUP 2013) and Art and Globalisation (in Greek, Hestia 2013) and is co-editor of three edited collections. She is also an award-winning novelist, writing in her native Greek.