Women Artists at the Millennium

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Overview

More than thirty years after the birth of the modern women's movement and the beginnings of feminist art-making and art history, the time is ripe to examine the legacies of those revolutions. In Women Artists at the Millennium, artists, art historians, and critics examine the differences that feminist art practice and critical theory have made in late twentieth-century art and the discourses surrounding it.In 1971, when Linda Nochlin published her essay "Why Have ThereBeen No Great Women Artists?" in a special issue of Art News, there were no women's studies, no feminist theory, no such thing as feminist art criticism; there was instead a focus on the mythic figure of the great (male) artist through history. Since then, the "woman artist" has not simply been assimilated into the canon of "greatness" but has expanded art-making into a multiplicity of practices with new parameters and perspectives. In Women Artists at the Millennium artists includingMartha Rosler and Yvonne Rainer reflect upon their own varied practices and art historians discuss the innovative work of such figures as Louise Bourgeois, Lygia Clark, Mona Hatoum, and Carrie MaeWeems. And Linda Nochlin considers changes since her landmark essay and looks to the future,writing, "We will need all our wit and courage to make sure that women's voices are heard, their work seen and written about."Artist Pages ByEllen Gallagher, Ann Hamilton, Mary Kelly, YvonneRainer, Martha RoslerContributing WritersEmily Apter, Carol Armstrong, Catherine de Zegher, MariaDiBattista, Brigid Doherty, Briony Fer, Tamar Garb, Anne Higonnet, Ewa Lajer-Burcharth, MollyNesbit, Mignon Nixon, Linda Nochlin, Griselda Pollock, Abigail Solomon-Godeau, Lisa Tickner, AnneWagner

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Product Details

  • ISBN-13: 9780262515948
  • Publisher: MIT Press
  • Publication date: 2/25/2011
  • Series: October Books
  • Pages: 472
  • Product dimensions: 6.90 (w) x 8.70 (h) x 0.90 (d)

Meet the Author

Carol Armstrong is Doris Stevens Professor of Women's Studies in the Department of Art andArchaeology at Princeton University. She is the author of Scenes in a Library: Reading thePhotograph in the Book, 1843-1875 (MIT Press, 1998).

Catherine de Zegher was Director of The Drawing Center in New York from 1999 to 2006. She is the editor of Inside the Visible: An Elliptical Traverse of Twentieth Century Art in, of,and from the Feminine (MIT Press, 1996).

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Table of Contents

Portfolio, by Yvonne Rainer"Why Have There Been No Great Women Artists?", by LindaNochlinRethinking the Artist in the Woman, the Woman in the Artist, and That Old Chestnut, the Gaze,by Griselda PollockMediating Generation, by Lisa TicknerResponding, by Molly NesbitPortfolio, byMartha RoslerDuchess of Nothing, by Ewa Lajer-BurcharthDrawing Drawing, by Briony FerThe Inside Is the Outside, by Catherine de ZegherResponding, by Brigid DohertyPortfolio, by Ann HamiltonHairlines,by Tamar Garb The She-Fox, by Mignon NixonDifference and Disfiguration, orTrockel as Mime, by Anne M. WagnerResponding, by Emily ApterPortfolio, by Mary KellyFrancescaWoodman, by Carol ArmstrongTaunting and Haunting, by Abigail Solomon-GodeauSally Mann, by AnneHigonnetResponding, by Maria diBattistaPortfolio, by Ellen Gallagher

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