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• Preface by Flavia Marcello-- General Introduction - Paula Birnbaum and Anna Novakov-- Part I: Reconfiguring Childhood-- Marching Teams and Modern Girls: Bodies and Culture in Interwar New Zealand - Charlotte Macdonald-- Gender and Generational Identity: Camp Fire Girls and Cultural Production in the Interwar Years - Jennifer Helgren-- Deconstructing Girlhood: Claude Cahun's "Sophie la Symboliste" - Jennifer L. Shaw-- Part II: Modernity and Visual Culture-- Weimar Cultural Production: Visual Pleasure and Radical Critique in the Work of Hannah Hoch - Melissa Johnson-- Modern Madonnas and Working Mothers - Paula Birnbaum-- Modern Girls, Working Women, and Housewives: Japanese Women Artists in the Interwar Years - Laura W. Allen-- Part III: Re-Imagining Gender and Race-- Pool and the Production of Cinema, Sexuality, and Race during the Interwar Era - Tirza True Latimer-- Frida Kahlo, American Nationalism, and The New Mestiza Woman - Celia S. Stahr-- Passion and Valor in Malvina Hoffman's Sculptures from the Interwar Years - Susan Martis-- Part IV: Craftswomen and National Identity-- "The Fabric of the Nation's Art": Women's Appropriation of Aboriginal Textile Motifs during the Interwar Period in British Columbia - Tusa Shea-- Foreign Treasures: Elizabeth Ginno's Costume Etchings at the 1940 Exposition on Treasure Island - Heather A. Vaughan-- Part V: Women and Public Spaces-- The Bobbed Builder: Women Architects in the Weimar Republic - Despina Stratigakos-- A Bath in the Surf: Ivana Tomljenovic's Interwar Street Photographs - Anna Novakov-- Hobo Girls: The Inauspicious Working Girl and Ideal Fluidity - Stephanie Ellis-- Contributors-- Bibliography-- Index.
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Examines the social, cultural and political contexts in which women artists from Europe, Asia, and North America had the opportunity to contribute to their nations' cultural production.
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• Introduction, Karen E. Brown-- Women war artists of World War I, Katy Deepwell-- 'Feminist art', 'female art', 'sexless art' in a modernist context: women's collective exhibitions in Greece, 1925-1937, Chariklia-Glafki Gotsi-- 'An unsettling aura of inscrutability': imperialism, racial stereotyping and the construction of the 'exotic' by British women sculptors during the 1920s and 1930s, Jonathan Black-- 'Her hands never soft': Concetta Scaravaglione at the New York World's Fair, 1939-40, Anna Maria Carlevaris-- Carola Giegion-Welcker: misrepresented collaborator of modernists, Christa-Maria Lerm Hayes-- Norah McGuinness, W.B. Yeats and the illustrated book, Karen E. Brown-- Negotiating 'new' venues in art: Doris and Anna Zinkeisen in modernising London, Britta C. Dwyer-- Ethel Gabain, Evelyn Gibbs and Evelyn Dunbar: 3 approaches to professional art practice in interwar Britain, Alice Strickland-- The struggles of modernising Mexico: the mural of Aurora Reyes at the Centro Escolar Revolucion, Terri Geis-- Index.
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An exploration of women's contribution to visual culture in major Western urban centers, this collection also sheds new light on women's relationships with the processes of modernism and modernization. The essays in this volume analyze women's work in a variety of mediums, including design, print, illustration, murals, poster art, costume design, and film as well as more conventional forms of painting and sculpture in the interwar period (1918-1939). International in scope, the volume discusses artists and exhibitions from the United Kingdom, Greece, Mexico, France, Ireland, and the United States. The contributors place a strong emphasis on archival research yet each addresses contemporary concerns in feminist art history. By focusing on a very specific time period, the essays place a central concern on the history and theory of art and gender and are united by their coherent focus on women's role in the agency and mediation of artistic production between the wars.
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The Pixels of Paul Cezanne is a collection of essays by Wim Wenders in which he presents his observations and reflections on the fellow artists who have influenced, shaped, and inspired him. "How are they doing it?" is the key question that Wenders asks as he looks at the dance work of Pina Bausch, the paintings of Cezanne, Edward Hopper, and Andrew Wyeth, as well as the films of Ingmar Bergman, Michelanelo Antonioni, Ozu, Anthony Mann, Douglas Sirk, and Sam Fuller. He finds the answer by trying to understand their individual perspectives, and, in the process revealing his own art of perception in texts of rare poignancy.
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• Introduction: disturbing subjects: surrealism, feminism and psychoanalysis-- Masking the crime of femininity-- Surrealist transgression and feminist subversion-- The photographic subject-- Fashioning the lesbian subject of surrealism-- Surrealism, violence and censorship-- Conclusion: the feminist subject-- Bibliography-- Index.
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How did women Surrealists such as Leonora Carrington and Claude Cahun take up the question of female identity in terms of their own aesthetic and intellectual practice? What was the response of women analysts such as Joan Riviere to Freud's psychoanalytic construction of femininity? These are among the questions that Natalya Lusty brings to her sophisticated and theoretically informed investigation into the appropriation of 'the feminine' by the Surrealist movement. Combining biographical and textual methods of analysis with historically specific discussions of related cultural sites such as women's magazines, fashion, debutante culture, sexology, modernist lesbian subculture, pornography, and female criminality, the book examines the ambiguities and blind spots that haunt the work of more central figures such as Andre Breton, Georges Bataille, Jacques Lacan, Walter Benjamin, and the Surrealist photographer Hans Bellmer. Lusty's examination of a series of psychoanalytic Surrealist themes, including narcissism, fantasy, masquerade, perversion, and 'the double', illuminates a modernist preoccupation with the crisis of subjectivity and representation and its ongoing relevance to more recent work by Cindy Sherman and Judith Butler. Her book is an important contribution to modernist studies that will appeal to scholars and students working across a diverse range of fields, including literary studies, gender studies, visual culture, cultural studies, and cultural history.
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During the 1970s, adding 'women's' to 'art' was a powerfully political act. Fuelled by the momentum of the women's liberation movement, artists, art historians, critics and curators began to explore the women's art practice, as distinct from men's, and to challenge its invisibility in the established art world and historical canon. In the 1980s, they continued to creatively critique representations of female sexuality, and in the 1990s, some began to embrace the 'post-feminist' idea of difference and the performance of gender. Throughout this pivotal period, the MAKE magazine offered a unique platform for academics, artists and arts professionals to critically engage with women's art. Though the need to talk about 'women's art' seemed to lose some of its political urgency in the early 2000s, many artists, art historians and art students are now once again explicitly engaging with feminist art histories and art practices as possible models and precedents for resistance. Now is the time to revisit the past, in order to understand and galvanise the energy of the present.Gathering together the work of eminent writers such as Griselda Pollock and Marina Warner, on celebrated artists such as Helen Chadwick, Sarah Lucas and The Guerrilla Girls, this unparalleled anthology of material from the MAKE archive allows us to trace the lineages and links between then and now.
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• Introduction
• Chapter 1: Minimalism and Subjectivity: Aesthetics and the Anti-aesthetic Tradition
• Chapter 2: Mild Intoxication and other Aesthetic Feelings: Psychoanalysis and Art Revisited
• Chapter 3: Lygia Clark: Participation, Affect and the Body
• Chapter 4: Eva Hesse's Late Sculptural Works: Elusive Expression and Unconscious Affect
• Chapter 5: Ana Mendieta's Silueta Series: Affect Miniaturisation and Emotional Ties
• Chapter 6: The Dream of the Audience: The Moving Images of Theresa Hak Kyung Cha Conclusion: Which Anthropomorphism?
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Is late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterizations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. The book focuses on four highly influential female artists--Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha--and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analyzed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.
(source: Nielsen Book Data)

Is late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterisations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. The book focuses on four highly influential female artists: Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analysed in detail. "Visualizing Feeling" also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.
(source: Nielsen Book Data)

This collection of 240 photographs depicts 224 of the twentieth century's top studio craft artists and designers working in fiber, clay, glass, metal, and wood. The photographs are by Paul J. Smith, Director Emeritus of the Museum of Arts and Design. Drawing on Smith's career of over fifty years as an arts administrator and curator, this book records his extensive interest in meeting art-ists in their studios, as well as at con-fer-ences and national and international events. By reflecting his firsthand experience of the changing currents in twentieth-century craft, these images form a uniquely personal record that captures an important aspect of the history of the studio craft movement. Taken over a thirty-year period, these pho-to-graphs portray both the diversity and common threads of the craft movement, illustrating a community that shares knowl-edge, friendships, and a passion for the handmade object.
(source: Nielsen Book Data)