This publication contains a survey of female abstract expressionist artists, revealing the richness and lasting influence of their work and the movement as a whole as well as highlighting the lack of critical attention they have received to date.
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The first in-depth resource on the American artists Elaine de Kooning, Helen Frankenthaler, Grace Hartigan, Lee Krasner, Joan Mitchell, and Ethel Schwabacher.
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.
Willem de Kooning was a pioneering figure among Abstract Expressionists, one of the most influential champions of the dynamic new painting that brought New York to the center of the international scene in the 1950s. This book features ten paintings and drawings by de Kooning selected from The Museum of Modern Art's substantial collection of his work. Together they trace the artist's career, illustrating his much-heralded debut exhibition in 1948, his sensational Woman series of the 1950s and 1960s, and the serene works he made late in life. An essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art.
"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"--
How do students develop a personal style from their instruction in a visual arts program? Women Artists on the Leading Edge explores this question as it describes the emergence of an important group of young women artists from an innovative post-war visual arts program at Douglass College. The women who studied with avant-garde artists at Douglas were among the first students in the nation to be introduced to performance art, conceptual art, Fluxus, and Pop Art. These young artists were among the first to experience new approaches to artmaking that rejected the predominant style of the 1950s: Abstract Expressionism. The New Art espoused by faculty including Robert Watts, Allan Kaprow, Roy Lichtenstein, Geoffrey Hendricks, and others advocated that art should be based on everyday life. The phrase “anything can be art” was frequently repeated in the creation of Happenings, multi-media installations, and video art. Experimental approaches to methods of creation using a remarkable range of materials were investigated by these young women. Interdisciplinary aspects of the Douglass curriculum became the basis for performances, videos, photography, and constructions. Sculpture was created using new technologies and industrial materials. The Douglass women artists included in this book were among the first to implement the message and direction of their instructors. Ultimately, the artistic careers of these young women have reflected the successful interaction of students with a cutting-edge faculty. From this BA and MFA program in the Visual Arts emerged women such as Alice Aycock. Rita Myers, Joan Snyder, Mimi Smith, and Jackie Winsor, who went on to become lifelong innovators. Camaraderie was important among the Douglass art students, and many continue to be instructors within a close circle of associates from their college years. Even before the inception of the women’s art movement of the 1970s, these women students were encouraged to pursue professional careers,
This first volume in the Tate Gallery Liverpool Critical Forum series is derived from a conference held in conjunction with the display of Abstract Expressionist Painting from the USA, which was mounted at Tate Gallery Liverpool from March 1992 to January 1993. The display comprised 21 paintings by 13 artists, including Ad Reinhardt, Norman Lewis, Adolph Gottlieb, Jackson Pollock, Arshile Gorky, Franz Kline and Willem de Kooning. The objectives of the conference, involving speakers from the international community of scholarship in the field, were: to elicit new observations, critical judgments and proposals from the knowledge base of abstract expressionism and perhaps to challenge some of its prevailing conventions; and to debate the role of the Tate Gallery Liverpool as a modifier of this field of knowledge.
- Author : Maggie Nelson
- Publisher : University of Iowa Press
- Release Date : 2007-12-01
- Genre : Literary Criticism
- Pages : 288
- ISBN : 9781587296154
Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.
In a masterly book on the sociology of modernism, Janet Wolff explores work that was primarily realist and figurative and investigates the processes by which art fell by the wayside in the post-war period.
- Author : David Craven
- Publisher : Unknown
- Release Date : 1999-02-13
- Genre : Art
- Pages : 232
- ISBN : UCSD:31822026397844
A study of the political implications of Abstract Expressionism.
While most women’s studies texts function “topically” as “readings” for courses and general use, Women’s Work: A Survey of Scholarship By and About Women takes a broad spectrum of women’s disciplines--psychological, artistic, religious, and philosophical--and gives you a diverse, interdisciplinary view of this important and ever-expanding field of study in one accessible volume. You’ll see that women are leading the world into the twenty-first century in such areas as education, business, health, and science. You’ll also find your appreciation for the current developments in women’s studies increase as you see how far-reaching and multifaceted this crucial discipline really is. Women’s Work avoids the compilations of topical readings that tend to bog down typical women’s studies courses and explores the different disciplines that continue to make this field central to the development of the academic world community. You’ll find your perspective on women’s studies expand and take on new meaning as you delve into these and other areas: feminist approaches to research the lack of women in science and feminist critiques of science women and health psychology and discussions on sex differences, sex similarities, and gender roles communication differences between men and women women in literature, art history, and metaphysics Judeo-Christian religions and goddess religions This comprehensive compendium has something for everyone interested in the massive contribution that women have made--and will continue to make--in all areas of human development. All readers, especially women’s studies scholars, professors, students, and informed members of the general public looking for an excellent, up-to-date resource concerning the general direction of feminist disciplines today, will definitely want a copy of Women’s Work.
A multidisciplinary reference on the collective experiences of women. Prepared by 425 scholars from all disciplines, features 701 alphabetically listed entries, coverage of 1,250 historical figures, analysis of women and society and culture throughout history, cross-references, and bibliography.
The rich, revealing, and thrilling story of five women whose lives and painting propelled a revolution in modern art, from the National Book Award finalist. Set amid the most turbulent social and political period of modern times, Ninth Street Women is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting--not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come. Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting. These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In Ninth Street Women, acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.
This monumental work maps the field of women's studies publications, covering thousands of titles and Web sites in 19 subject areas published in the last two decades of the 20th century.