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Women Artists at the Millennium

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ISBN-10: 026201226X

ISBN-13: 9780262012263

Edition: 2006

Authors: Carol Armstrong, Catherine de Zegher

List price: $42.95
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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 There Been 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)…    
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Book details

List price: $42.95
Copyright year: 2006
Publisher: MIT Press
Publication date: 8/25/2006
Binding: Hardcover
Pages: 408
Size: 7.25" wide x 9.50" long x 1.25" tall
Weight: 2.530
Language: English

Jennifer A. Gonz�lez is Associate Professor in the History of Art and Visual Culture Department at the University of California, Santa Cruz. Her essays and reviews have appeared in Frieze, World Art, Diacritics, Art Journal, Bomb, numerous exhibition catalogs, and anthologies, including With Other Eyes: Looking at Race and Gender in Visual Culture and Race in Cyberspace.Carol Armstrong is a professional quilter, teacher, and pattern designer known for her beautiful, life-like applique designs taken from nature. Carol lives in Shingleton, Michigan.

"Why Have There Been No Great Women Artists?" Thirty Years After
Rethinking the Artist in the Woman, the Woman in the Artist, and That Old Chestnut, the Gaze
Mediating Generation: The Mother-Daughter Plot
Responding: Questions of Perspective
Duchess of Nothing: Video Space and the "Woman Artist"
Drawing Drawing: Agnes Martin's Infinity
The Inside Is the Outside: The Relational as the (Feminine) Space of the Radical
Responding: Dwelling on Spaces
The She-Fox: Transference and the "Woman Artist"
Difference and Disfiguration, or Trockel as Mime
Responding: A Referendum on Theory and Feminism
Francesca Woodman: A Ghost in the House of the "Woman Artist"
Taunting and Haunting: Critical Tactics in a "Minor" Mode
Sally Mann: The Price of Success
Responding: Scandalous Matter: Women Artists and the Crisis of Embodiment