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Reclaiming Female Agency: Feminist Art History After Postmodernism

Reclaiming Female Agency: Feminist Art History After Postmodernism Cover

 

Synopses & Reviews

Publisher Comments:

This volume is the third in an influential series of anthologies by editors Norma Broude and Mary D. Garrard that challenge art history from a feminist perspective. Following their Feminism and Art History: Questioning the Litany (1982) and The Expanding Discourse: Feminism and Art History (1992), this new volume identifies female agency as a central theme of recent feminist scholarship. Framed by a lucid and stimulating critical introduction, twenty-three essays on artists and issues from the Renaissance to the present, written in the 1990s and after, offer a nuanced critique of the poststructuralist premises of 1980s feminist art history.

Contributors: Allison Arieff, Janis Bergman-Carton, Babette Bohn, Norma Broude, Anna C. Chave, Julie Cole, Bridget Elliott, Mary D. Garrard, Sheila ffolliott, Darcy Grimaldo Grigsby, Ruth E. Iskin, Geraldline A. Johnson, Amelia Jones, Maud Lavin, Julie Nicoletta, Carol Ockman, Erica Rand, John B. Ravenal, Lisa Saltzman, Mary D. Sheriff

Synopsis:

"Extremely stimulating and useful. The authors lay out a strategy for future art historians and theorists."—Paula Harper, University of Miami

"I found the individual essays fascinating. . . . Broude and Garrard's introduction . . . helped clarify for me the current state of the affairs in feminist art history; their approach is both inspired and inspiring."— Sue Taylor, Associate Professor of Art History, Portland State University

Synopsis:

"Extremely stimulating and useful. The authors lay out a strategy for future art historians and theorists."--Paula Harper, University of Miami

About the Author

Norma Broude, Professor of Art History at American University, is author of Impressionism, a Feminist Reading: The Gendering of Art, Science, and Nature in the 19th Century (1991), among other books. Mary D. Garrard is Professor Emerita of Art History at American University and author of Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity (California, 2001), among other publications. Broude and Garrard are also the editors of The Power of Feminist Art: The American Movement of the 1970s, Power and Impact (1994).

Table of Contents

Preface and Acknowledgments

Introduction: Reclaiming Female Agency

1. Heres Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist

Mary D. Garrard

2. Learning to Be Looked At: A Portrait of (the Artist as) a Young Woman in Agnès Merlets Artemisia

Sheila ffolliott

3. Artemisias Hand

Mary D. Garrard

4. The Antique Heroines of Elisabetta Sirani

Babette Bohn

5. Pictures Fit for a Queen: Peter Paul Rubens and the Marie de Medici Cycle

Geraldine A. Johnson

6. The Portrait of the Queen: Elisabeth Vigée-Lebruns Marie-Antoinette en chemise

Mary D. Sheriff

7. Depoliticizing Women: Female Agency, the French Revolution, and the Art of Boucher and David

Erica Rand

8. Nudity à la grecque in 1799

Darcy Grimaldo Grigsby

9. A Womans Pleasure: Ingress Grande Odalisque

Carol Ockman

10. Conduct Unbecoming: Daumier and Les Bas-Bleus

Janis Bergman-Carton

11. The Gendering of Impressionism

Norma Broude

12. Selling, Seduction, and Soliciting the Eye: Manets Bar at the Folies-Bergère

Ruth E. Iskin

13. Mary Cassatt: Modern Woman or the Cult of True Womanhood?

Norma Broude

14. The “Strength of the Weak” as Portrayed by Marie Laurencin

Bridget Elliott

15. New Encounters with Les Demoiselles dAvignon: Gender, Race, and the Origins of Cubism

Anna C. Chave

16. The New Woman in Hannah Höchs Photomontages: Issues of Androgyny, Bisexuality, and Oscillation

Maud Lavin

17. Claude Cahun, Marcel Moore, and the Collaborative Construction of a Lesbian Subjectivity

Julie Cole

18. Louise Bourgeoiss Femmes-Maisons: Confronting Lacan

Julie Nicoletta

19. Reconsidering the Stain: On Gender and the Body in Helen Frankenthalers Painting

Lisa Saltzman

20. Minimalism and Biography

Anna C. Chave

21. The “Sexual Politics” of The Dinner Party: A Critical Context

Amelia Jones

22. Cultural Collisions: Identity and History in the Work of Hung Liu

Allison Arieff

23. Shirin Neshat: Double Vision

John B. Ravenal

Contributors

Index

Product Details

ISBN:
9780520242517
Subtitle:
Feminist Art History after Postmodernism
Editor:
Broude, Norma
Editor:
Broude, Norma
Editor:
Garrard, Mary D.
Author:
Bergman-Carton, Janis
Author:
Johnson, Geraldine A.
Author:
Arieff, Alison
Author:
Chave, Anna C.
Author:
Cole, Julie
Author:
Iskin, Ruth E.
Author:
Norma
Author:
Elliott, Bridget
Author:
Sheriff, Mary D.
Author:
Bohn, Babette
Author:
Grigsby, Darcy Grimaldo
Author:
ffolliott, Sheila
Author:
Broude
Author:
Rand, Erica
Author:
Lavin, Maud
Author:
Broude, Norma
Author:
Ravenal, John B.
Author:
Saltzman, Lisa
Author:
Nicoletta, Julie
Author:
Ockman, Carol
Author:
Jones, Amelia
Author:
Garrard, Mary D.
Editor:
Garrard, Mary D.
Other:
Broude, Norma
Publisher:
University of California Press
Subject:
History - General
Subject:
Gender Studies
Subject:
Feminism and art
Subject:
Subjects & Themes - General
Subject:
History : General
Subject:
Art - General
Edition Description:
Trade Cloth
Publication Date:
20050411
Binding:
Paperback
Grade Level:
Professional and scholarly
Language:
English
Illustrations:
157 b/w photographs
Pages:
486
Dimensions:
9.5 x 7.5 x 1.25 in 44 oz

Related Subjects

Arts and Entertainment » Art » General
Arts and Entertainment » Art » History and Criticism
Arts and Entertainment » Art » Theory and Criticism
History and Social Science » Gender Studies » General

Reclaiming Female Agency: Feminist Art History After Postmodernism
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$ In Stock
Product details 486 pages University of California Press - English 9780520242517 Reviews:
"Synopsis" by ,
"Extremely stimulating and useful. The authors lay out a strategy for future art historians and theorists."—Paula Harper, University of Miami

"I found the individual essays fascinating. . . . Broude and Garrard's introduction . . . helped clarify for me the current state of the affairs in feminist art history; their approach is both inspired and inspiring."— Sue Taylor, Associate Professor of Art History, Portland State University

"Synopsis" by , "Extremely stimulating and useful. The authors lay out a strategy for future art historians and theorists."--Paula Harper, University of Miami
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