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This important interdisciplinary book is a unique and timely contribution to the field of women in the arts. Each chapter is devoted to a single artist and a single ground-breaking work that altered the course of its art form in a full array of genres, including dance, music, installation, photography, architecture, poetry, literature, theater, film, performance art, and popular culture. These discussions are preceded by a comprehensive introduction to art by women over the past century that sets the artists who follow in a context that insightfully illuminates their struggles, their achievements, and their places in history at a critical moment in the contemporary world.
In this second edition, the authors have made a significant update with six new chapters, new photos, and a revised introduction. The new chapters take as their subjects the contributions of Yoko Ono, Crystal Pite, Caroline Shaw, Beyoncé, Kara Walker, and Diane Paulus. Each of the new chapters represents an artist or a category of art that has grown in prominence or engaged a significant redefinition in the contemporary world that was not addressed in the original edition of the book. Updating this material re-establishes the book's priority and relevance, especially in its expansion of representation of artists of color and artists in popular culture, and reinforces its appeal not only as a popular read, but as a classroom textbook or resource at the university level.
Table des matières
List of Illustrations - Preface - Acknowledgements - Deborah J. Johnson/Wendy Oliver: Introduction - Deborah J. Johnson: The Political Dialogic of Yoko Ono's Cut Piece (1964) - Wendy Oliver: Disappearing Act: Yvonne Rainer, Trio A, and the Feminist Dilemma (1966) - Annie Perkins: The Poetry of Gwendolyn Brooks (1970s-'80s) - Deborah J. Johnson: The Secularization of the Sacred: Judy Chicago's Dinner Party and Feminist Spirituality (1974-79) - 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) - 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) - Wendy Oliver: Crystal Pite's Emergence: Hierarchy, Swarm Intelligence, and Contemporary Ballet (2009) - Christina L. Reitz: A Firm Foundation: Formal Tradition in Caroline Shaw's Partita for 8 Voices (2009-2012) - Deborah J. Johnson: Beygency: Power, Sex, and Subjectivity in the Feminist Politics of Beyoncé Knowles-Carter (2013) - Rebecca Peabody: Ephemeral Monumentality and the Art of the Future: Kara Walker's A Subtlety (2014) - Jennifer Madden: Having Her Pie and Eating It Too: Waitress and the Popular Art of Diane Paulus (2016) - Contributors - Index.
A propos de l'auteur
Deborah J. Johnson is Professor of Modern and Contemporary Culture at Providence College in the Art History and Women¿s Studies departments. She is the author of several books, scholarly articles, and museum catalogs, two of which won national awards. She received her PhD from Brown University.
Wendy Oliver, Professor of Dance and Women & Gender Studies at Providence College, chairs the Department of Theatre, Dance, and Film. She is the author/editor of articles and books on dance and gender, dance history, and criticism. She holds an EdD from Columbia University.
Résumé
This book examines the work of 14 female artists since 1960 with a particular focus on how the artist incorporated gender issues or feminist thought into her respective art form, giving literal expression to the lives and experiences of women over the past 60 years.
