Women Making Art

Women in the Visual, Literary, and Performing Arts since 1960
Erscheinungsjahr 2001
ISBN: 978-0-8204-4438-3
Verlag: Peter Lang

Buch, Englisch, Band 7, 267 Seiten, Format (B × H): 160 mm x 230 mm, Gewicht: 390 g

Reihe: Eruptions: New Feminism Across the Disciplines

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy Sherman, Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream.

Autoren/Hrsg.

Oliver, Wendy

Johnson, Deborah

Inhaltsverzeichnis

Wendy Oliver: Disappearing Act: Yvonne Rainer, Trio A, and the Feminist Dilemma (1966) - Annie Perkins: The Poetry of Gwendolyn Brooks (1970s-80s) - William Osborne: Sounding the Abyss of Otherness: Pauline Oliveros’ Deep Listening and the Sonic Meditations (1971) - Deborah Johnson:The Secularization of the Sacred: Judy Chicago’s Dinner Party and Feminist Spirituality (1975-79) - Maura Reilly: Cindy Sherman’s Untitled Film Stills: Reproductive or Transgressive Mimicry? (1977-81) - Loretta Lorance: Zaha Hadid: The Peak Club Competition and the Politics of Architecture (1982) - Susan McClary: This Is Not a Story My People Tell: Musical time and Space According to Laurie Anderson (1984) - Phillipa Kafka: Erecting a Statue of an Unknown Goddess in Amy Tan’s The Kitchen God’s Wife (1991) - Denise Bauer: Jane Campion’s The Piano: A Feminist Tale of Resistance (1993) - Sarah Lansdale Stevenson: Yielding to Multiplicity: The Kaleidoscopic Subject of Paula Vogel’s How I Learned to Drive (1997).

Über Autor(innen)

The Editors: Deborah Johnson is Associate Professor of Art History, Women’s Studies, and Black Studies at Providence College in Providence, Rhode Island. While curator at the Museum of Art, Rhode Island School of Design, she published several catalogs in the areas of prints, drawings, and photography, two of which won national awards. As a modernist at Providence College, she has continued to publish widely on nineteenth- and twentieth-century art and culture, and was recently included in the landmark collection Readings in Nineteenth-Century Art (Janis Tomlinson, Ed.). Dr. Johnson holds a Ph.D. in art history from Brown University.
Wendy Oliver, Associate Professor at Providence College in Providence, Rhode Island, teaches dance and women’s studies. She has authored several articles on dance, and is the editor of the book Focus on Dance XII: Dance in Higher Education. Prior to her work in academe, Dr. Oliver was a choreographer and performer based in Minneapolis, MN. She has an M.F.A. in dance from Temple University and an Ed.D. in dance education from Columbia University.