Finding Vivian Maier
Who was Vivian Maier? A mysterious and private woman who worked as a nanny for forty years? Or was she the 20th century’s greatest street photographer? The answer is simple: she was both. Finding Vivian Maier delves into the recent discovery of this groundbreaking artist, who for years had been wholly unknown to the art world, but has since taken it by storm. It follows John Maloof, an amateur historian who bought over 100,000 negatives of Maier’s work by chance at an auction, as he crusades to put this prolific photographer in the history books. In this documentary, Maier's strange and riveting life and art are revealed through never-before-seen photographs, films, and interviews with dozens who thought they knew her. Through a retrospective look at Maier’s life, Maloof creates a stunning film that provides firsthand insight into the mind of an almost-forgotten genius.
U.S. Women's History : Untangling the Threads of Sisterhood by
In the 1970s, feminist slogans proclaimed ""Sisterhood is powerful"", and women's historians searched through the historical archives to recover stories of solidarity and sisterhood. However, as feminist scholars have started taking a more intersectional approach - acknowledging that no woman is simply defined by her gender and that affiliations like race, class, and sexual identity are often equally powerful - women's historians have begun to offer more varied and nuanced narratives. The ten original essays in U.S. Women's History represent a cross-section of current research in the field. Including work from both emerging and established scholars, this collection employs innovative approaches to study both the causes that have united American women and the conflicts that have divided them. Some essays uncover little-known aspects of women's history, while others offer a fresh take on familiar events and figures, from Rosa Parks to Take Back the Night marches. Spanning the antebellum era to the present day, these essays vividly convey the long histories and ongoing relevance of topics ranging from women's immigration to incarceration, from acts of cross-dressing to the activism of feminist mothers. This volume thus not only untangles the threads of the sisterhood mythos, it weaves them into a multi-textured and multi-hued tapestry that reflects the breadth and diversity of U.S. women's history.
Volver
From two-time Academy Award-winner Pedro Almodóvar (2003, Best Original Screenplay, Talk to Her, 2000, Best Foreign Language Film, All About My Mother), comes Volver, a comedic and compassionate tribute to women and their resilience in the face of life's most outrageous tribulations. A luminous Penélope Cruz leads an ensemble of gifted actresses, including Carmen Maura (Women on the Verge of a Nervous Breakdown). Raimunda (Cruz) and her sister Sole lost their parents in a tragic fire years ago ... or did they? Superstitious villagers claim that the girls' departed mother, Irene (Maura), has been seen wandering around their Aunt Paula's home. When Irene appears to Sole, she explains that she has returned to set right her daughter's troubled lives and reveal shocking secrets that will impact, everyone! Raimunda has "female troubles" of her own, least of which is a corpse in the freezer! Winner of numerous film festival and critics' awards, Volver is a hilarious tale of love, loss and forgiveness.
Veil: Veiling, representation, and contemporary art by
No single item of clothing has had greater influence on Western images of Middle Eastern and North African women than the veil. The fascination of Western writers, artists, and photographers with the veil reflects the voyeuristic nature of our interest in what is strange and "other." Veil, which accompanies an exhibition organized by the Institute of International Visual Arts in London, explores the representation of the veil in contemporary visual arts. Providing a context for the commissioned essays are a number of classical historical texts crossing religions, cultures, genders, and ages—from Greek myths to articles published in the aftermath of September 11, 2001. Some of the contemporary artists and scholars write autobiographically about the meaning of the veil in their lives. Others take a more political approach, discussing, for example, how the events of September 11 changed the use and reception of veil imagery throughout the world. Still others take a historical approach, examining how nineteenth-century technological developments in travel and photography led to photographic depictions of both the veiled and unveiled body in relation to landscape. A number of essays look at the art historical precedents for the current interest in artwork addressing the veil, while others examine how codes of modesty and gender segregation have affected the making and viewing of films in postrevolutionary Iran. The essays are by Jananne Al-Ani, David A. Bailey, Alison Donnell, Ghazel, Salah Hassan, Reina Lewis, Hamid Naficy, Zineb Sedira, and Gilane Tawadros. The artists represented include Faisal Abdu'Allah, Kourosh Adim, Ghada Amer, Jananne Al-Ani, Farah Bajull, Samta Benyahia, Gae´in de Cle²imbault, Marc Garanger, Shadafarin Ghadirian, Group AES, Emily Jacir, Ramesh Kalkur, Shirin Neshat, Harold Offeh, Gillo Pontecorvo, Zineb Sedira, Mitra Tabrizian, and Elin Strand.
Against the Odds: women pioneers in the first hundred years of photography by
The work of over 30 groundbreaking 19th and 20th century American women photographers including Dorothea Lange, Lotte Jacobi, Margaret Bourke-White, Catherine Barnes Ward, Frances Benjamin Johnston. Until now, women's critical role in the early years of American photography's history has been largely ignored.
Broad Strokes: 15 women who made art and made history (in that order) by
Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 brilliant female artists in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from 1600 to the present day for the modern art lover, reader, and feminist.
It Is Almost That: A collection of image+text work by women artists & writers by
A marvelously bold interdisciplinary anthology, It Is Almost That collects works by women artists and writers who have constructed hybrid environments that merge image and text. The works in this collection are supremely imaginative in both form and content: from the semi-autobiographical novel painted by a young artist who died in the Holocaust (Charlotte Salomon) to Alison Knowles' computer-generated chance operation for "imagining" houses and their inhabitants; from the pseudo-scientific examination of a conversation between a mother and a daughter (Eleanor Antin) to the dark, comic interrogation of violence against women (Sue Williams); from the transformations of newspaper headlines (Suzanne Treister) to the probing of animal consciousness (Cole Swensen & Shari De Graw); from the body maps drawn by South African women with AIDS (Bambanani Women's Group) to the alchemical transformation of the pregnant body into an evolving landscape and philosophical meditation (Susan Hiller). Other contributors to It Is Almost That include Fiona Banner, Louise Bourgeois, Theresa Hak Kyung Cha, Cozette de Charmoy, Ann Hamilton, Jane Hammond, Dorothy Iannone, Bhanu and Rohini Kapil, Helen Kim, Ketty La Rocca, Bernadette Mayer, Adrian Piper, Charlotte Salomon, Genevi ve Seill , Molly Springfield, Erica Van Horn & Laurie Clark, Carrie Mae Weems, Hannah Weiner and Unica Z rn.
Beyond Mammy, Jezebel and Sapphire: Reclaiming images of Black women: works from the collections of Jordan D. Schnitzer and his family foundation by
Engaging a wide range of experiences, techniques and materials, the nine artists featured in this volume challenge the images of black women that continue to pervade our culture and influence perceptions: stereotypes such as the suffering mama, the angry black woman and the temptress. Brought together in this publication, works by Romare Bearden, Mildred Howard, Wangechi Mutu, Lorna Simpson, Kara Walker, Robert Colescott, Ellen Gallagher, Alison Saar and Mickalene Thomas disrupt expectations and replace simplistic narratives with nuanced, sophisticated meditations on contemporary identity.
The Janes
In the spring of 1972, police raided an apartment on the South Side of Chicago where seven women who were part of a clandestine network were arrested and charged. Using code names, fronts, and safe houses to protect themselves and their work, the accused had built an underground service for women seeking safe, affordable, illegal abortions. They called themselves “Jane.” Directed by Oscar-nominee Tia Lessin (HBO’s Trouble the Water) and Emmy-nominee Emma Pildes (HBO’s Jane Fonda in Five Acts), The Janes offers first-hand accounts from the women at the center of the group, many speaking on the record for the first time. The Janes tells the story of a group of unlikely outlaws. Defying the state legislature that outlawed abortion, the Catholic Church that condemned it, and the Chicago Mob that was profiting from it, the members of Jane risked their personal and professional lives to help women in need. In the pre-Roe v. Wade era––a time when abortion was a crime in most states and even circulating information about abortion was a felony in Illinois––the Janes provided low-cost and free abortions to an estimated 11,000 women.
Paper Girls: the Complete Story by
Brian K. Vaughan and Cliff Chiang's Eisner Awardwinning series Paper Girls is coming Amazon Prime Video in July 2022! Finally, the entire Eisner Award-winning epicin one complete volume, with a new cover from co-creator CLIFFCHIANG! Four12-year-old newspaper delivery girls from the year 1988 uncover the mostimportant story of all time. Suburban drama and otherworldly mysteries collidein this critically acclaimed series about nostalgia, first jobs, and the lastdays of childhood. Collects PAPER GIRLS #1-30
Women without Men
Shirin Neshat's Women without Men is an adaptation of Shahrnush Parsipur's magic realist novel of the same name. Nominated for the Golden Lion Award, it chronicles the intertwining lives of four Iranian women during the summer of the 1953 coup d état, a cataclysmic moment in history when an American-led, British-backed mission led to the overthrow of Iran's prime minister and reinstalling the shah to power. Also released as Zanan-e bedun-e mardan. Silver Lion for Best Directing, Venice Interntaional Film Festival. Special Presention at the 2009 Toronto International Film Festival. In Persian with English subtitles. Directed by Shirin Neshat and Shoja Azari. Iran.
The Flapper Queens: Women Cartoonists Of The Jazz Age by
Fantagraphics celebrates The Flapper Queens, a gorgeous oversized hardcover collection of full-color comic strips. In addition to featuring the more well-known cartoonists of the era, such as Ethel Hays, Nell Brinkley, and Virginia Huget, Eisner award-winning Trina Robbins introduces you to Eleanor Schorer, who started her career in the teens as a flowery art nouveau Nell Brinkley imitator but, by the '20s, was drawing bold and outrageous art deco illustrations; Edith Stevens, who chronicled the fashion trends, hairstyles, and social manners of the '20s and '30s in the pages of The Boston Globe; and Virginia Huget, possibly the flappiest of the Flapper Queens, whose girls, with their angular elbows and knees, seemed to always exist in a euphoric state of Charleston.
We wanted a revolution : Black radical women, 1965-85 : a sourcebook by
A landmark exhibition on display at the Brooklyn Museum from April 21 through September 17, 2017, We Wanted a Revolution: Black Radical Women, 1965-85 examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. It showcases the work of black women artists such as Emma Amos, Maren Hassinger, Senga Nengudi, Lorraine O'Grady, Howardena Pindell, Faith Ringgold, and Betye Saar, making it one of the first major exhibitions to highlight the voices and experiences of women of color. In so doing, it reorients conversations around race, feminism, political action, art production, and art history in this significant historical period. The accompanying Sourcebook republishes an array of rare and little-known documents from the period by artists, writers, cultural critics, and art historians such as Gloria Anzaldúa, James Baldwin, bell hooks, Lucy R. Lippard, Audre Lorde, Toni Morrison, Lowery Stokes Sims, Alice Walker, and Michelle Wallace. These documents include articles, manifestos, and letters from significant publications as well as interviews, some of which are reproduced in facsimile form. The Sourcebook also includes archival materials, rare ephemera, and an art-historical overview essay. Helping readers to move beyond standard narratives of art history and feminism, this volume will ignite further scholarship while showing the true breadth and diversity of black women's engagement with art, the art world, and politics from the 1960s to the 1980s. We Wanted a Revolution will also be on display at the California African American Museum in Los Angeles from October 13, 2017 through January 14, 2018; the Albright-Knox Art Gallery in Buffalo, New York from February 17, 2018 through May 27, 2018; and at the Institute of Contemporary Art/Boston from June 26, 2018 through September 30, 2018. Published by the Brooklyn Museum and distributed by Duke University Press
The Female Gaze: Women artists making their world by
The Linda Lee Alter Collection of Art by Women is a collection at the Pennsylvania Academy of the Fine Arts (PAFA) of approximately 400 works of art including paintings, photographs, drawings, watercolours, pastels, collage, prints, fabric pieces, ceramics, bronze, wood, and sculpture in other media by over 150 artists. The collection includes works by artists such as Louise Bourgeois, Joan Brown, Viola Frey, Ana Mendieta, Alice Neel, Louise Nevelson, Christina Ramberg, Betye Saar, Kiki Smith, Nancy Spero, and Beatrice Wood among many others. This accessibly written, fully illustrated publication includes ten new essays on women artists since the 1920s. The chief aim is to document and celebrate this unprecedented gift in PAFA's history. The book breaks new ground in scholarship on its topics, takes risks with interpretation, and uses the broad themes and wide array of artists represented in the collection as a starting point for reflections on the history of the feminist movement, individual artists, and regional identities. Artists from the collection have a strong voice throughout the publication through interviews, writings, and the incorporation of archival materials. The Linda Lee Alter Collection catalogue will be the lasting document of the collection and will accompany the travelling version of the exhibition, which is projected to travel to four US venues in 2013 and 2014. AUTHOR: Robert Cozzolino is Senior Curator and Curator of Modern Art, Pennsylvania Academy of the Fine Arts. ILLUSTRATIONS: 200 colour illustrations
Women, Art, and Technology by
A sourcebook of documentation on women artists at the forefront of work at the intersection of art and technology. Although women have been at the forefront of art and technology creation, no source has adequately documented their core contributions to the field. Women, Art, and Technology, which originated in a Leonardo journal project of the same name, is a compendium of the work of women artists who have played a central role in the development of new media practice.The book includes overviews of the history and foundations of the field by, among others, artists Sheila Pinkel and Kathy Brew; classic papers by women working in art and technology; papers written expressly for this book by women whose work is currently shaping and reshaping the field; and a series of critical essays that look to the future. Artist contributors Computer graphics artists Rebecca Allen and Donna Cox; video artists Dara Birnbaum, Joan Jonas, Valerie Soe, and Steina Vasulka; composers Cecile Le Prado, Pauline Oliveros, and Pamela Z; interactive artists Jennifer Hall and Blyth Hazen, Agnes Hegedus, Lynn Hershman, and Sonya Rapoport; virtual reality artists Char Davies and Brenda Laurel; net artists Anna Couey, Monika Fleischmann and Wolfgang Strauss, Nancy Paterson, and Sandy Stone; and choreographer Dawn Stoppiello; critics include Margaret Morse, Jaishree Odin, Patric Prince, and Zoe Sofia
After the revolution : women who transformed contemporary art by
'Why have there been no great women artists?' asked art historian Linda Nochlin in a provocative essay. Today, her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent figures describe the impact of women artists since the advent of feminism.
The deconstructive impulse : women artists reconfigure the signs of power, 1973-1991 by
KEYNOTE: A survey of leading women artists from the late twentieth century examining the crucial feminist contribution to the deconstructivist movement. Exhibition Itinerary: Neuberger Museum of Art Purchase College, State University of New York, Purchase January 15-April 3, 2011 Nasher Museum of Art at Duke University, Durham, North Carolina August 25-December 5, 2011 The practice of deconstructivism, a term describing artwork that examines the imagery of the popular media, was significantly shaped by dozens of important female artists during a critical era in late twentieth-century visual culture. These artists subverted their source material, often by appropriating it, to expose the ways that commercial images express imbalances of power. The mechanisms of power in mainstream art institutions were also subject to these artists' critique. This exhibition catalogue features a diverse group of North American women whose transformative and often provocative work deals with gender, sexual, racial, ethnic, and class-based inequities. Essays by leading critics discuss such topics as the importance of critical theory and sexual politics in the art world of the 1980s; how domesticity is represented in commercial media and the art that addresses it; the importance of psychoanalytic theory as a critical framework; and the sexualization of inanimate objects. AUTHORS: Nancy Princenthal is a New York-based writer and former Senior Editor of Art in America. Tom McDonough is Associate Professor of Philosophy, Interpretation & Culture and Comparative Literature, Binghamton University, State University of New York. Griselda Pollock is Professor of the Social and Critical Histories of Art, University of Leeds. Helaine Posner is chief curator and deputy director for curatorial affairs at the Neuberger Museum of Art. Kristine Stiles is Professor, Art, Art History and Visual Studies, Duke University. ILLUSTRATIONS 100 colour images *
Gee's Bend : the women and their quilts by
Since the 19th century, the women of Gee's Bend in southern Alabama have created stunning, vibrant quilts. Beautifully illustrated with 350 color illustrations, 30 black-and-white illustrations, and charts, Gee's Bend to Rehoboth is being-released in conjunction with a national exhibition tour including The Museum of Fine Art, Houston, and the Whitney Museum of American Art.
Drawing Lines: an Anthology of Women Cartoonists by
Showcasing stories from some of the comics' greatest female creators, this anthology features stories that range from mainstream adventures to hilarious comic shorts to heart-wrenching autobiographical stories. Originally published as Sexy Chix in 2006, this new edition is presented in a new, larger size! Featuring over a dozen stories by top talents like New York Times bestselling author Joyce Carol Oates, Eisner Award-winning illustrator Jill Thompson, Scary Godmother creator Colleen Doran, DC Comics creators Gail Simone and Joelle Jones, and many more!
We're All Just Fine by
Artist Ana Penyas's grandmothers Maruja and Herminia live alone in their respective Spanish towns, largely neglected by their children and relatives, who never visit. But when Ana comes to see them, she realizes that these women, whose day-to-day existences now seem mundane, experienced firsthand an incredibly tumultuous and fascinating period of Spanish history. In We're All Just Fine, Penyas weaves the memories of her grandmothers to craft a narrative quilt that pieces together what it was like for women to assimilate to Spain's dramatic political and cultural shifts in the late 1970s and '80s. The sudden transition from the authoritarian, repressive Franco regime to lively and liberating democracy was at once incredibly freeing but also destabilizing for women used to their traditional roles as dutiful housewives. Through this intimate lens into her grandmothers' daily struggle -- of their silence, the small acts of rebellion, and great gestures of resilience -- Penyas gives voice to an entire generation of "invisible'' women whose stories have rarely been told. Combining collage and rough-hewn pencil drawings, and mixing past and present, Penyas offers a decidedly feminist tribute to the forgotten lives and legacies of her grandmothers.
Stone Fruit by
***Create a free Comics Plus account using your CIA email to view this title.*** 2022 Cartoonist Studio Prize WINNER 2022 Lynd Ward Graphic Novel Prize WINNER 2022 Lambda Literary Award WINNER, LGBTQ Comics 2022 ALA Stonewall Award Honor Book 2021 National Book Foundation "5 Under 35" Honoree Bron and Ray are a queer couple who enjoy their role as the fun weirdo aunties to Ray's niece, six-year-old Nessie. Their playdates are little oases of wildness, joy, and ease in all three of their lives, which ping-pong between familial tensions and deep-seeded personal stumbling blocks. As their emotional intimacy erodes, Ray and Bron isolate from each other and attempt to repair their broken family ties -- Ray with her overworked, resentful single-mother sister and Bron with her religious teenage sister who doesn't fully grasp the complexities of gender identity. Taking a leap of faith, each opens up and learns they have more in common with their siblings than they ever knew. At turns joyful and heartbreaking, Stone Fruit reveals through intimately naturalistic dialog and blue-hued watercolor how painful it can be to truly become vulnerable to your loved ones -- and how fulfilling it is to be finally understood for who you are. Lee Lai is one of the most exciting new voices to break into the comics medium and she has created one of the truly sophisticated graphic novel debuts in recent memory.
Power up: Female Pop Art by
The ladies of Pop Art play with art in the Bad Girl manner between Pin-Up and consumerism. These unconventional and powerful works are determined by female sexuality and lust, the post-war economic miracle and politics. Pop characterizes the humour and lightness of their attitude towards life. This book presents extraordinary women Pop artists. While it was mainly their male colleagues who have been celebrated up to the present, Power Up – Female Pop Art now casts light for the first time on prominent women artists. In the tension field between Abstract Expressionism and Minimalism, figuration and abstraction, consumerism and capitalism criticism, the works by these artists certainly resemble those by their male colleagues in terms of material, subject matter and working method. But at the same time, a specific female methodology, approach or interest is established based on exemplary works. The artists document and subjectify the post-war boom years, reflect the superficiality of consumerism and meet mass taste as pioneering feminist positions in their pithiness, monumentality, the simple vocabulary of forms as well as the gaudy choice of colours, and nevertheless remain combative, critical and extraordinary. Artists include: Evelyne Axell, Christa Dichgans, Rosalyn Drexler, Jann Haworth, Dorothy Iannone, Sister Corita Kent, Kiki Kogelnik, Marisol, Niki de Saint Phalle Exhibition Power up – Women Pop Artists, Kunsthalle Wien, 5 November 2010 – 23 January 2011.
Radical Gestures: Feminism and performance art in North America by
Performance art was finally recognized as an art form in its own right in the 1970s. InRadical GesturesJayne Wark situates feminist performance art in the US and Canada in the social context of the feminist movement and avant-garde art from the 1970s to 2000. She shows that artists drew from feminist politics to create works that, after a long period of modernist aesthetic detachment, made a unique contribution to the re-politicization of art.Wark brings together a wide range of artists, including Lisa Steele, Martha Rosler, Lynda Benglis, Gillian Collyer, Margaret Dragu, and Sylvie Tourangeau, and provides detailed readings and viewings of individual pieces, many of which have not been studied in detail before. She reassesses assumptions about the generational and thematic characteristics of feminist art, placing feminist performance within the wider context of minimalism, conceptualism, land art, and happenings.
Women and Ceramics: Gendered Vessels by
This discussion of the relationship between women and ceramics examines some of the female ceramic traditions such as Pueblo pottery and considers the success women have had over the 20th century in both design and as individual ceramic artists.
Feminist Visual Culture by
First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Wise Women: A celebration of their insights, courage, and beauty by
In ancient times older women were the keepers of primal mysteries and were revered for their special wisdom: today there is a feeling that our culture is reawakening to the power of our elders. Joyce Tenneson presents 80 portraits of women aged 65 to 100, who comment on their experiences of ageing.
Trap Door: Trans cultural production and the politics of visibility by
Essays, conversations, and archival investigations explore the paradoxes, limitations, and social ramifications of trans representation within contemporary culture. The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions. The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered "doors"--entrances to visibility and recognition--that are actually "traps," accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture. Contributors Lexi Adsit, Sara Ahmed, Nicole Archer, Kai Lumumba Barrow, Johanna Burton, micha cárdenas, Mel Y. Chen, Grace Dunham, Treva Ellison, Sydney Freeland, Che Gossett, Reina Gossett, Stamatina Gregory, Miss Major Griffin-Gracy, Robert Hamblin, Eva Hayward, Juliana Huxtable, Yve Laris Cohen, Abram J. Lewis, Heather Love, Park McArthur, CeCe McDonald, Toshio Meronek, Fred Moten, Tavia Nyong'o, Morgan M. Page, Roy Pérez, Dean Spade, Eric A. Stanley, Jeannine Tang, Wu Tsang, Jeanne Vaccaro, Chris E. Vargas, Geo Wyeth, Kalaniopua Young, Constantina Zavitsanos