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Discover the work of female artists who have made their mark on the art world. Women’s Art Work introduces readers to the lives and work of the world’s most renowned artists. With a foreword from Tate’s first female director, Maria Balshaw, this collection celebrates the creativity of women in more than 30 biographies, investigating their practices and exploring their contributions to the art world. Readers will learn about a diverse group of innovators like Frida Kahlo, Cindy Sherman, Ana Mendieta, Lubaina Himid, Cao Fei, and the Guerrilla Girls. From early pioneers to today’s most radical creators, these women have overcome obstacles, broken boundaries, and enriched our understanding of what art is and can be. With a glossary of art terms, a timeline of major milestones, and educational sidebars, this highly illustrated book is perfect for any art lover. Additionally, it features original interviews with living artists—including Yayoi Kusama, Lorna Simpson, and Rachel Whiteread. Featured artists include: - Eileen Agar - Anni Albers - Louise Bourgeois - Sonia Boyce - Claude Cahun - Judy Chicago - Tacita Dean - Tracey Emin - Cao Fei - Simryn Gill - Guerrilla Girls - Natalia Goncharova - Anthea Hamilton - Barbara Hepworth - Lubaina Himid - Gwen John - Joan Jonas - Frida Kahlo - Yayoi Kusama - Agnes Martin - Ana Mendieta - Berthe Morisot - Georgia O'Keeffe - Paula Rego - Bridget Riley - Doris Salcedo - Cindy Sherman - Lorna Simpson - Dayanita Singh - Gillian Wearing - Rachel Whiteread - Lynette Yiadom-Boakye - Fahrelnissa Zeid
"I was in high spirits all through my unwise teens, considerably puffed up, after my drawings began to sell, with that pride of independence which was a new thing to daughters of that period."—The Reminiscences of Mary Hallock Foote Mary Hallock made what seems like an audacious move for a nineteenth-century young woman. She became an artist. She was not alone. Forced to become self-supporting by financial panics and civil war, thousands of young women moved to New York City between 1850 and 1880 to pursue careers as professional artists. Many of them trained with masters at the Cooper Union School of Design for Women, where they were imbued with the Unity of Art ideal, an aesthetic ideology that made no distinction between fine and applied arts or male and female abilities. These women became painters, designers, illustrators, engravers, colorists, and art teachers. They were encouraged by some of the era's best-known figures, among them Tribune editor Horace Greeley and mechanic/philanthropist Peter Cooper, who blamed the poverty and dependence of both women and workers on the separation of mental and manual labor in industrial society. The most acclaimed artists among them owed their success to New York's conspicuously egalitarian art institutions and the rise of the illustrated press. Yet within a generation their names, accomplishments, and the aesthetic ideal that guided them virtually disappeared from the history of American art. Art Work: Women Artists and Democracy in Mid-Nineteenth-Century New York recaptures the unfamiliar cultural landscape in which spirited young women, daring social reformers, and radical artisans succeeded in reuniting art and industry. In this interdisciplinary study, April F. Masten situates the aspirations and experience of these forgotten women artists, and the value of art work itself, at the heart of the capitalist transformation of American society.
Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume The most extensive fully illustrated book of women artists ever published, Great Women Artists reflects an era where art made by women is more prominent than ever. In museums, galleries, and the art market, previously overlooked female artists, past and present, are now gaining recognition and value. Featuring more than 400 artists from more than 50 countries and spanning 500 years of creativity, each artist is represented here by a key artwork and short text. This essential volume reveals a parallel yet equally engaging history of art for an age that champions a greater diversity of voices. "Real changes are upon us, and today one can reel off the names of a number of first-rate women artists. Nevertheless, women are just getting started."—The New Yorker
The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”
A celebration of art traditionally devalued as too domestic or feminine to be taken seriously and the innovative, brilliant artists reclaiming the idea of ‘women’s work’.
This is a book about life, how to make the most of it, how to find your balance when you are working long days and trying to be happy and fulfilled. Mireille Guiliano has written the kind of book she wishes she had been given when starting out in the business world and had at hand along the way.She draws on her own experiences at the forefront of women in business to offer lessons, stories, helpful hints - and even recipes! - that can make the working world a happier and more satisfying part of a well-balanced life. Mireille talks about style, communication skills, risk taking, leadership, etiquette, mentoring, personal relationships and much more, all from a perspective of three decades in business. This book is about helping women (and a few men, peut-etre) feel good about themselves, being challenged and engaged in our working lives, and always looking for pleasure in every single day.
Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz
"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation fthat have always been foundational to the art of Native women."--Page 4 of cover.
A richly illustrated study of the dress and adornment traditions of the Indigenous peoples of North America's western subarctic.
The Art of the Woman explores the life of German-born Elisabet Ney, a flamboyant sculptor who transfixed the philosopher Arthur Schopenhauer and left the court of the half-mad Ludwig of Bavaria to put down new roots in Texas. Born in 1833, Ney gained notoriety in Europe by sculpting the busts of such figures as Ludwig II, Schopenhauer, Garibaldi, and Bismarck. In 1871 she abruptly emigrated to America and became something of a recluse until resuming her sculpting career two decades later. In Texas, she was known for stormy relationships with officials, patrons, and women’s organizations. Her works included sculptures of Sam Houston and Stephen F. Austin and are exhibited in the state and US capitols as well as the Smithsonian. Emily Fourmy Cutrer’s biography of Ney makes extensive use of primary sources and was the first to appraise both Ney’s legend and individual works of art. Cutrer argues that Ney was an accomplished sculptor coming out of a neglected German neoclassical tradition and that, whatever her failures and eccentricities, she was an important catalyst to cultural activity in Texas.