Notes 1. “Mythopoeic,” The Macquarie Dictionary, 2nd ed. (Sydney: Macquarie Library, Macquarie University, 1987), 1133. 2. George Lakoff and Mark Johnson, Metaphors We Live By (Chicago: University of Chicago Press, 1980). 3. Please see Judy Chicago and Miriam Schapiro’s article that defines “central core imagery”, “Female Imagery,” Womanspace Journal 1, no. 3 (Summer 1973): 11–14. 4. Donna Haraway, “A Cyborg Manifesto: Science, Technology, and SocialistFeminism in the Late Twentieth Century,” in Simians, Cyborgs and Women: The Reinvention of Nature (New York; Routledge, 1991), 181. Full article available online through Stanford University, http://www.stanford.edu/ dept/HPS/Haraway/CyborgManifesto. html. 5. Ibid., 155. To begin to locate the position and parameters of the curatorial framework and context for survey in Mythopoetic: Women Artists from Australia and India, I borrow the statement in which Donna Haraway defines her anti-essentialist feminist space. 6. Charles Green, “Beyond the Future: The Third Asia-Pacific Triennial,” Art Journal 58, no. 4 (Winter 1999): 81. In this article, Green discusses the position of contemporary artists from the Asia Pacific (specifically India and Australia). 7. Judith Brodsky and Ferris Olin explore the impact of feminisms in society generally and contemporary art specifically in the article “Stepping Out of the Beaten Path: Reassessing the Feminist Art Movement,” Signs 33, no. 2 (2008). 8. Michel Foucault’s concept of “causal relations” are the places in which disparate knowledge systems overlap, in shared zones of connection and commonality. Foucault addresses this subject broadly through his definition of a modern episteme in the chapter titled “The Human Sciences”, in his book The Order of Things (London and New York: Routledge, 1966). A particular passage describing the structure of the modern episteme and causal relations may be found on page 378.
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9. See Maria Elena Buszek’s article that explores the use of popular culture in women artists’ practice, titled “Once More, with Feeling. Feminist Art and Pop Culture Now,” Art Pulse Magazine 3, no. 4 (Summer 2012). 10. Geeta Kapur explores the impact of global feminisms on contemporary art through the practice of five women artists from India. In the beginning of the essay she explores the semiotics of “women as image” through an account given by Rosalind Krauss, in feminist practice and I borrow her idea (about the deconstruction of the masculinised gazes [via global feminisms] privileged in art historical canons) to provide an example of the aesthetics in Mythopoetic in the first paragraph under the sub-title “Mythopoetic—New Archetypes”; two of the artists the author investigates in this essay are also in this exhibition. Kapur, “Gender Mobility: Through the Lens of Five Women Artists in India,” in Global Feminisms, ex. cat., ed. Maura Reilly and Linda Nochlin (New York: Brooklyn Museum and Merrell, 2007), 79. 11. Geeta Kapur introduces the concept of re-mythologising in feminist art practice through a discussion of the work and practice of artist Nalini Malani in her essay “Gender Mobility”, 83.