| Sumario: | Domesticity in women's art has been explored in a number of recently emerging writings and artistic projects. In this article, we focus on three British and Chinese women artists' work: Jemima Brown's Our Lady of Perpetual Distraction , Tao Aimin's Women's River , and Gao Rong's Guangzhou Station—Things in the Bag , with analysis that explores overlaps between them as part of a transcultural condition. These overlaps are defined as "touchpoints", as a way to capture transient, fluid or intra-secting moments where ideas within artworks meet. We pay attention to gender division/inequality that is informed by a new materialist and phenomenological feminist methodology. This article facilitates an in-depth analysis of women's art from a transcultural understanding and challenges the current sociocultural binaries inherent in gender relations.
|
|---|