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Offering a fresh perspective on the influence of the American southwest--and particularly West Texas--on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a "decentered" modernism--demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century.
This catalogue is published on the occasion of the exhibition Texas Women: A New History of Abstract Art, organized by the San Antonio Museum of Art and on view February 7 through May 3, 2020.
In 1912, at age 24, Georgia O’Keeffe boarded a train in Virginia and headed west, to the prairies of the Texas Panhandle, to take a position as art teacher for the newly organized Amarillo Public Schools. Subsequently she would join the faculty at what was then West Texas State Normal College (now West Texas A&M University). Already a thoroughly independent-minded woman, she maintained an active correspondence with her future husband, photographer Alfred Stieglitz, and other friends back east during the years she lived in Texas. Amy Von Lintel brings to readers the collected O’Keeffe correspondence and added commentary and analysis, shining fresh light on a period of the artist’s life she characterizes as “some of the least appreciated in the vast O’Keeffe scholarship,” but also as “a time when she discovered her own voice as a young, successful, and independent woman . . . a dedicated faculty member at a brand-new college . . . a vibrant social butterfly . . . a progressive woman who spoke her mind and fought for her beliefs to be heard.” Although selected paintings by O’Keeffe that support the narrative are featured, this work focuses on O’Keeffe’s words. By doing so, Von Lintel aims to allow the artist’s voice to “emerge as a powerful witness of her own life, but also of western America in a pivotal moment of its development.” The result is an important new examination of one of our most beloved artists during a time when she was in the process of discovering her future identity.
Men to Avoid in Art and Life pairs classical fine art with modern captions that epitomize the spirit of mansplaining. This hilarious book perfectly captures those relatable moments when a man explains to a woman a subject about which he knows considerably less than she does. Situations include men sharing keen insight on the female anatomy, an eloquent defense of catcalling, or offering sage advice about horseback riding to the woman who owns the horse. • These less qualified men of antiquity dish out mediocrity as if it's pure genius • For the women who have endured overbearing men over the centuries • Written with hilariously painful accuracy "Now, when you're riding a horse, you need to make sure to keep a good grip on the reins." "These are my horses." Through cringe-induced empathy, this timeless gift book of shared experiences unites women across history in one of the most powerful forms of resistance: laughter. • Started as a Twitter thread and quickly gained widespread popularity. • Makes a perfect book for women and feminists with a wry sense of humor, millennials, anyone who loves memes and Internet humor, as well as history and art buffs. • You'll love this book if you love books like Men Explain Things to Me by Rebecca Solnit, Milk and Vine: Inspirational Quotes from Classic Vines by Emily Beck, and Awards For Good Boys: Tales Of Dating, Double Standards, And Doom by Shelby Lorman.
Georgia O'Keeffe in Texas: A Guide is different from previous O'Keeffe studies, as it provides a short biography of O'Keeffe on the people and events that influenced her Texas years. The artists are neither artists nor professional art critics, but are historians of the American West who have an interest in Georgia O'Keeffe. They believe her years in Texas, especially the Texas Panhandle, were significant for her subsequent development as a thoroughly modern American artist. Front Cover Art Credit: Panhandle-Plains Historical Museum, Canyon, Texas
In Making the Unknown Known, leading scholars throughout Texas explore the significant role women artists played in developing early Texas art from the nineteenth century through the latter part of the twentieth century. The biographies presented here allow readers to compare these women’s experiences across time as they negotiated the gendered expectations about artists in society at large and the Texas art community itself. Surveying the contributions women made to the visual arts in the Lone Star state, Making the Unknown Known analyzes women’s artistic work with respect to geographic and historical connections. Including surveys of the work of artists such as Louise Wüste, Emma Richardson Cherry, Eleanor Onderdonk, Grace Spaulding John, and others, it offers a groundbreaking assessment of the role women artists have played in interpreting the meaning, history, heritage, and unique character of Texas. It places women artists within the larger social and cultural contexts in which they lived. In that regard, it contains an analysis of their varied styles of art, the media they employed, and the subject matter contained in their art. It thus evaluates the contributions made by women artists to defining the nature of the wider Texas experience as an American region. Beautifully illustrated throughout with rich, full-color reproductions of the works created by the artists, this volume provides an enriched understanding of the important but underappreciated role women artists have played in the development of the fine arts in Texas. At last, the unknown story can be known.
Winner, 2019 Ron Tyler Award for Best Illustrated Book, sponsored by the Texas State Historical Association (TSHA) In this expansive and vigorous survey of the Houston art scene of the 1970s and 1980s, author Pete Gershon describes the city’s emergence as a locus for the arts, fueled by a boom in oil prices and by the arrival of several catalyzing figures, including museum director James Harithas and sculptor James Surls. Harithas was a fierce champion for Texan artists during his tenure as the director of the Contemporary Arts Museum–Houston (CAM). He put Texas artists on the map, but his renegade style proved too confrontational for the museum’s benefactors, and after four years, he wore out his welcome. After Harithas’s departure from the CAM, the chainsaw-wielding Surls established the Lawndale Annex as a largely unsupervised outpost of the University of Houston art department. Inside this dirty, cavernous warehouse, a new generation of Houston artists discovered their identities and began to flourish. Both the CAM and the Lawndale Annex set the scene for the emergence of small, downtown, artist-run spaces, including Studio One, the Center for Art and Performance, Midtown Arts Center, and DiverseWorks. Finally, in 1985, the Museum of Fine Arts presented Fresh Paint: The Houston School, a nationally publicized survey of work by Houston painters. The exhibition capped an era of intensive artistic development and suggested that the city was about to be recognized, along with New York and Los Angeles, as a major center for art-making activity. Drawing upon primary archival materials, contemporary newspaper and magazine accounts, and over sixty interviews with significant figures, Gershon presents a narrative that preserves and interweaves the stories and insights of those who transformed the Houston art scene into the vibrant community that it is today.
A rich compendium of Western art by women, this book also contains essays which examine the many economic, social, and political forces that have shaped the art over years of pivotal change. The women profiled played an important role in gaining the acceptance of women as men's peers in artistic communities. Their independent spirit resonates in studios and galleries throughout the country today. Photos.
Winner, 2020 Liz Carpenter Award For Best Book on the History of Women The realm of ranching history has long been dominated by men, from tales—tall or true—of cowboys and cattlemen, to a century’s worth of male writers and historians who have been the primary chroniclers of Texas history. As women’s history has increasingly gained a foothold not only as a field worthy of study but as a bold and innovative way of understanding the past, new generations of scholars are rethinking the once-familiar settings of the past. In doing so, they reveal that women not only exercised agency in otherwise constrained environments but were also integral to the ranching heritage that so many Texans hold dear. Texas Women and Ranching: On the Range, at the Rodeo, and in Their Communities explores a variety of roles women played on the western ranch. The essays here cover a range of topics, from early Tejana businesswomen and Anglo philanthropists to rodeos and fence-cutting range wars. The names of some of the women featured may be familiar to those who know Texas ranching history—Alice East and Frances Kallison, for example. Others came from less well-known or wealthy families. In every case, they proved themselves to be resourceful women and unique individuals who survived by their own wits in cattle country. This book is a major contribution to several fields—Texas history, western history, and women’s history—that are, at last, beginning to converge.
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