Katy Deepwell

Katy Deepwell is a feminist art critic and academic, based in London. She is the founder and editor of n.paradoxa: international feminist art journal, published since 1998 by KT press. She founded KT press as a feminist not-for-profit publishing company to publish the journal and books on feminist art.

Katy Deepwell
OccupationFeminist art critic, academic

The journal was part of the Documenta 12 Magazines Project in 2007. n.paradoxa is an art magazine which publishes articles on women artists from around the world.

She was President of the British Section of AICA (International Art Critics Association), 1997–2000. She was Chair of Trustees of Women's Art Library, London, 1989–1994, a national charity and library on women artists which closed in 2002.

Her work has been centred on the promotion of feminism in relation to the visual arts and art criticism.

Early life and education

Deepwell trained as an artist at St Martins School of Art, 1982–1985. She then obtained a MA Social History of Art from University of Leeds in 1986 and a PhD from Birkbeck College, University of London in 1991.

Works

Academic work

Deepwell is currently Professor of Contemporary Art, Theory and Criticism at Middlesex University.[1] Katy Deepwell has taught for over twenty years in Universities. Her last post was as Reader in Contemporary Art, Theory and Criticism and Head of Research Training at University of the Arts London (2004–2010).

She has worked as a lecturer teaching art history and art theory in universities including Goldsmiths' College, Oxford Brookes University, Kent Institute of Art and Design and University of Copenhagen since 1986. She was a Leverhulme Research Fellow (Leverhulme Trust) in 2008–2009.

Publications and editorial works
  • Editor of Feminist Art Manifestos: An anthology (London: KT press, ebook 2014) ISBN 978-0-9926934-3-5 https://www.amazon.com/dp/B00PBBVLQU
  • Women Artists in Britain Between the Two World Wars: 'A Fair Field and No Favour' (Manchester University Press, September 2010) ISBN 978-0-7190-8080-7
  • Dialogues: Women Artists from Ireland (London: IB Tauris, 2005). ISBN 1-85043-621-5
  • (co-edited with Mila Bredikhina) The Gender, Theory and Art Anthology: 1970–2000 (Moscow: Rosspen Publishing House, 2005) (Text in Russian) ISBN 5-8243-0595-1
  • Editor of Women Artists and Modernism (Manchester University Press, June 1998). ISBN 0-7190-5082-0
  • Editor of Art Criticism and Africa (Saffron Books, July 1997) ISBN 1-872843-13-1
  • Editor (& introductory essay) of New Feminist Art Criticism: Critical Strategies (Manchester University Press, 1995) ISBN 0-7190-4258-5
  • Ten Decades: The Careers of Ten Women Artists born 1897–1906, Exhibition Catalogue of Arts Council Touring Exhibition, Norwich Gallery, Norwich University College of the Arts, April 1992, ISBN 1-872482-05-8.

Recent essays
  • 'Claims for a Feminist Politics in Painting' in Anne Ring Petersen (et al., eds.) Contemporary Painting in Context (University of Copenhagen, Novo Nordisk Foundation, 2009) pp. 139–160
  • 'Cooling out on Post-Feminism' in Sabine Schaschl, Bettina Steinbrugge, and Rene Zechlin (eds) Cooling Out: On the Paradox of Feminism (Zurich: JRP Ringier, 2008) (English, pp. 74–83, German pp. 248–257)
  • Mehr also sieben dringender Fragen zum Feminismusí in Gisela Weimann (ed.) Geteilte Zeit: Fragen und Antworten (Weimar, Edition Eselsweg, 2008). Text in German and English. pp. 237–243
    • Republished as More than seven urgent questions for feminism online in English in n.paradoxa issue 20 online, April 2008
  • 'Women War Artists in the First World War in Britain' in Karen Brown (ed) Agency and Mediation amongst Women Artists between the Wars (Ashgate Press, 2008) pp. 11–36
  • 'Feminist Models: Now and in the Future' in It's Time for Action (There's No Option) About Feminism Migros Museum (Zurich/ JRP Ringier Kunstverlag, 2007) German pp. 43–63, English pp. 190–208
  • 'Issues in Feminist Curation: Strategies and Practices' in Janet Marstine (ed) An Introduction to New Museum Theory (USA: Blackwells, 2006) ISBN 1-4051-0558-5 pp. 64–84
  • 'DÈfier l'indiffÈrence a la diffÈrence: les paradoxes de la critique d'art fÈministe' in Pierre-Henry Frangne & Jean-Marc Poinsot (eds) L'Invention de Critique D'Art (France: Presses Universitaires de Rennes, 2002, text in French) ISBN 2-86847-660-0 pp. 191–205
  • 'Women, Representation and Speculations on the End of History Painting' for N.Green and P.Seddon (ed) History Painting Reassessed (Manchester University Press, October 2000) ISBN 0-7190-5168-1 pp. 131–148
  • 'Text and Subtexts' in Binghui Huangfu (ed) Text and Subtext: Contemporary Art and Asian Women Earl-Lu Gallery, Lasalle-SIA College of Arts, Singapore. Book for International Touring Exhibition of Contemporary Asian Women Artists. Curator: Binghui Huangfu. (June 2000) ISBN 981-04-2718-2 pp. 33–41
  • 'Curating Feminist Histories' in Power Ekroth, Tove Helander (eds) Expositioner: Antologi On Utstallningsmediet: The Exhibition as an Artistic Medium Stockholm: Konstfack, 2000 published for the Sollentuna Art Fair, Stockholm. (March 2000) ISBN 91-630-9243-3 pp. 88–96
gollark: There's one in my message, though?
gollark: The current one, by definition.
gollark: No.
gollark: And speaking of the main characters, again they are badly written and flawed. Right from the start they are portrayed as a group of bumbling fools that mess up at every turn. It is really hard to believe that these clowns had the brains to build a time machine.
gollark: I know, I was just saying how nonspurious it was.

References
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