On the troublesome relationship of feminism and terrorism: representing the female terrorist in contemporary art

This paper analyses tendencies in debates about cultural representations of terrorism to assume that artists make critical interventions, while the mass media circulates stereotypes. Some recent feminist analyses of female terrorist acts have re-instituted essentialist arguments in which violence and terrorism is described as inherently masculine, while women are by nature pacifist, so that femininity is the antithesis of militarism. More progressive analyses mostly tend to expose the circulation of stereotypes and their gender bias, in order to protest the misrepresentation of women in violence. These analyses do not construct alternative accounts. Through an analysis of two works by artists Hito Steyerl and Sharon Hayes, the paper argues that some of the moves to re-image the question of women, violence and agency have already been made in contemporary art practices. Through analysing legacies of terrorism and feminism, it becomes possible to rethink the question of agency, militancy and the nature of political art. The paper appears in an edited interdiscplinary collection arising from a conference at Universität der Bundeswehr in Munich. It relates to wider projects involving collaborations with Birkbeck and Edinburgh on representations of terrorism and on violence and contemporary art.

Women in art: the last taboo

The intention of this paper is to explore traditions and current trends in art with particular reference to the depiction of female experiences such as pregnancy, abortion, birth and motherhood. The inclusion and exclusion of such images in art history over time and across societies reflects prevailing attitudes, whilst affirming various stereotypical and gendered constructions developed and sustained within those societies. These constructions in turn relate to criteria defined by class, access to education and notions of femininity. Work by artists which feature aspects of these experiences (particularly childbirth), is considered taboo by many in a Western society which continues to render the essentially female experience as private, invisible and stigmitised and confuses the natural with the sexual. The work of undergraduate art students, inspired by the artwork of women artists who make explicit or are influenced by essentially female experiences, is discussed and attempts made to connect their work to the issues outlined.

Career journeys and turning points of senior female managers in small construction firms

There is under-representation of senior female managers within small construction firms in the United Kingdom. The position is denying the sector a valuable pool of labour to address acute knowledge and skill shortages. Grounded theory on the career progression of senior female managers in these firms is developed from biographical interviews. First, a turning point model which distinguishes the interplay between human agency and work/home structure is given. Second, four career development phases are identified. The career journeys are characterized by ad hoc decisions and opportunities which were not influenced by external policies aimed at improving the representation of women in construction. Third, the 'hidden', but potentially significant, contribution of women-owned small construction firms is noted. The key challenge for policy and practice is to balance these external approaches with recognition of the 'inside out' reality of the 'lived experiences' of female managers. To progress this agenda there is a need for: appropriate longitudinal statistical data to quantify the scale of senior female managers and owners of small construction firms over time; and, social construction and gendered organizational analysis research to develop a general discourse on gender difference with these firms.