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E-BookEPUBePub WasserzeichenE-Book
Englisch
Penguin Random Houseerschienen am12.05.2014
The authors of After the Revolution return with an incisive study of the work of contemporary women artists.
In After the Revolution, the authors concluded that 'The battles may not all have been won . . . but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion.' Now, with The Reckoning, authors Heartney, Posner, Princenthal, and Scott bring into focus the accomplishments of 24 acclaimed international women artists born since 1960 who have benefited from the groundbreaking efforts of their predecessors. The book is organized in four thematic sections: 'Bad Girls' profiles artists whose work represents an assault on conventional notions of gender and racial difference. 'History Lessons' offers reflections on the self in the context of history and globalization. 'Spellbound' focuses on women's embrace of the irrational, subjective, and surreal, while 'Domestic Disturbances' takes on women's conflicted relationship to home, family, and security. Written in lively prose and fully illustrated throughout, this book gives an informed account of the wonderful diversity of recent contemporary art by women.
'An indispensable contribution to the literature on contemporary art by women.' (Whitney Chadwick, author of Women, Art and Society)
'In the 2007 book After the Revolution: Women Who Transformed Contemporary Art, [the authors] set a new standard in documenting and evaluating the work of a dozen key women artists, spanning generations between the 1960s to the 2000s. . . The beat goes on with the appearance of The Reckoning, written by the same authors in the same accessible scholarly style, but reflecting important historical changes over the past decade and more. In line with the increased presence of women in mainstream art, the book includes twice as many artists as its predecessor. And its global reach has expanded vastly, stretching from Europe and the Americas to Africa and China.' (Holland Cotter, The New York Times)



Nancy Princenthal ist Kunstkritikerin und Senior Editor der 'Art in America'. Sie schreibt für die New York Times, Artext, ArtUS, Art on paper, Bookforum und Parkett und ist Autorin zahlreicher Publikationen zu moderner und zeitgenössischer Kunst, darunter Prestels 'After the Revolution'. Sie war Dozentin des Visual Arts Programs an der Princeton University von 1994-2004 und hat außerdem am Center for Curational Studies am Bard College, der Tisch School of the Arts at New York University, der Yale University und der Rhode Island School of Design unterrichtet.mehr

Produkt

KlappentextThe authors of After the Revolution return with an incisive study of the work of contemporary women artists.
In After the Revolution, the authors concluded that 'The battles may not all have been won . . . but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion.' Now, with The Reckoning, authors Heartney, Posner, Princenthal, and Scott bring into focus the accomplishments of 24 acclaimed international women artists born since 1960 who have benefited from the groundbreaking efforts of their predecessors. The book is organized in four thematic sections: 'Bad Girls' profiles artists whose work represents an assault on conventional notions of gender and racial difference. 'History Lessons' offers reflections on the self in the context of history and globalization. 'Spellbound' focuses on women's embrace of the irrational, subjective, and surreal, while 'Domestic Disturbances' takes on women's conflicted relationship to home, family, and security. Written in lively prose and fully illustrated throughout, this book gives an informed account of the wonderful diversity of recent contemporary art by women.
'An indispensable contribution to the literature on contemporary art by women.' (Whitney Chadwick, author of Women, Art and Society)
'In the 2007 book After the Revolution: Women Who Transformed Contemporary Art, [the authors] set a new standard in documenting and evaluating the work of a dozen key women artists, spanning generations between the 1960s to the 2000s. . . The beat goes on with the appearance of The Reckoning, written by the same authors in the same accessible scholarly style, but reflecting important historical changes over the past decade and more. In line with the increased presence of women in mainstream art, the book includes twice as many artists as its predecessor. And its global reach has expanded vastly, stretching from Europe and the Americas to Africa and China.' (Holland Cotter, The New York Times)



Nancy Princenthal ist Kunstkritikerin und Senior Editor der 'Art in America'. Sie schreibt für die New York Times, Artext, ArtUS, Art on paper, Bookforum und Parkett und ist Autorin zahlreicher Publikationen zu moderner und zeitgenössischer Kunst, darunter Prestels 'After the Revolution'. Sie war Dozentin des Visual Arts Programs an der Princeton University von 1994-2004 und hat außerdem am Center for Curational Studies am Bard College, der Tisch School of the Arts at New York University, der Yale University und der Rhode Island School of Design unterrichtet.
Details
Weitere ISBN/GTIN9783641133436
ProduktartE-Book
EinbandartE-Book
FormatEPUB
Format HinweisePub Wasserzeichen
FormatE101
Erscheinungsjahr2014
Erscheinungsdatum12.05.2014
SpracheEnglisch
Dateigrösse43192 Kbytes
Illustrationen185 farbige Abbildungen
Artikel-Nr.1409132
Rubriken
Genre9200

Inhalt/Kritik

Leseprobe



INTRODUCTION



Fig. 1. Janine Antoni, Inhabit, 2009. Digital c-print; 1161/2 x 72 in. | 295.9 x 182.9 cm; edition of 3.



In the United States, 2007 was hailed as the year of feminism in art. This surprising celebration took place at a time when the women's movement was widely regarded as outmoded, even irrelevant, and feminism was considered a dirty word. The year was marked by a number of significant events designed to applaud and assess women's achievements in the visual arts, including the opening of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, featuring an inaugural exhibition on Global Feminisms; another large international survey titled WACK!: Art and the Feminist Revolution, organized by the Museum of Contemporary Art, Los Angeles, which toured North America; and a two-day symposium called "The Feminist Future" held at New York's Museum of Modern Art, an institution not generally noted for its support of art by women.

In his review of WACK!, art critic Holland Cotter offered a bold assessment of the state of art and feminism in the pages of The New York Times. He declared, "One thing is certain: Feminist art, which emerged in the 1960s with the women's movement, is the formative art of the last four decades. Scan the most innovative work, by both men and women, done during that time, and you'll find feminism's activist, expansionist, pluralistic trace. Without it identity-based art, crafts-derived art, performance art and much political art would not exist in the form it does, if it existed at all. Much of what we call postmodern art has feminist art at its source." [1] It seems that while the art establishment was attending to business as usual, feminists-male as well as female-had passed them by.

Our contribution to the year of art and feminism was a book titled After the Revolution: Women Who Transformed Contemporary Art. Focusing on a dozen exemplary artists, we described the strides they and their colleagues had made since the advent of the feminist movement in the 1960s, and noted the changes that took place in their critical reception, commercial appeal, and level of institutional support. In her foreword to this volume, the distinguished art historian Linda Nochlin observed, "After the revolution comes the reckoning," and asked, "Exactly what has been accomplished, what changed?" The Reckoning: Women Artists of the New Millennium is an attempt to address Nochlin's pointed question. We decided to turn our attention to a generation of women artists born post-1960 who have benefited from ground-breaking efforts of their predecessors, and to cast a wider geographical net, reflecting the globalization of the contemporary art world as well as the inroads made by feminism worldwide. The twenty-five women artists selected for inclusion in this new survey work in a wide variety of media and across a broad range of subjects. With gradually increasing opportunity and growing popular and critical acclaim, these artists, and their peers, are now positioned to reshape visual culture.

Rather than attempting an encyclopedic survey, we have organized The Reckoning around four themes that, we feel, capture significant impulses in artwork by younger women. "Bad Girls" presents artists who exploit "politically incorrect" and sexually explicit material to challenge the patriarchal image regime. "Spellbound" focuses on women's embrace of the irrational, the subjective, and the surreal. "Domestic Disturbances" takes on women's conflicted relationship to home, family, and security. "History Lessons" addresses women artists' engagement with political and social concerns. Each theme is linked to a groundbreaking work by what we came to think of as our artists' foremothers. These landmark works, which demonstrate the continuity between generations, also helped us think through how younger artists differ from their predecessors-how changing circumstances in the world and the role of women within it have subtly inflected longstanding concerns.

We readily acknowledge that many important artists do not fit comfortably within these categories. However, we feel they allowed us to map out a revealing set of relationships among women, culture, and world. The four themes might be thought of as a four-pointed net thrown over our subject. Two of the points involve subjective and individual aspects of women's experience: "Bad Girls" explores the body's role in forging our identity and considers how we are in turn shaped by the other's gaze. "Spellbound" comes at the question of identity from the opposite perspective, examining interior realities shaped by fantasy, subconscious desires, subliminal memories, and dreams. Because both categories deal with the construction of a sense of self, artists in these sections share certain overlapping concerns, among them the uses and abuses of pornography, the role of fantasy in the creation of identity, and the varieties of female pleasure.

The other two points of our net are more social, exploring women's relationship to the larger institutions that make up our world. "Domestic Disturbances" highlights the conflicts that often exist between individuals and family, construed in the widest sense. Dilemmas here include the struggle to balance communal identity and individuality; personal freedom and group responsibility. "History Lessons" pulls back to look at the self in relation to an even larger sphere, namely the artist's role in the world. Here questions of political power, social responsibility, and national identity come to the fore. Again, there are overlapping concerns between these two more collective categories, among them questions of activism, politics, and communal action.

Together these four points provide a way to make sense of the bewilderingly varied nature of female experience in the contemporary world. They also help explain the increasing diversity in our understanding of the term "feminism." One thing that became apparent to us in considering this generation of women artists is that its notion of identity-sexual, cultural, personal-is strikingly fluid. And while feminism continues to be a drive that transcends individuality (it is meaningless otherwise), it is itself increasingly plural. The ways in which the artists in this book speak about feminism vary enormously (and it should be noted that a few choose not to speak of it at all). For some-Sharon Hayes, for instance-it is a cause their work is organized to promote. Others-among them Tracey Emin and Lisa Yuskavage, two of the artists gathered under the category "Bad Girls"-take feminism as a term of lively contestation. Their work kicks against the traces of earlier activist positions, arguing for a new way of conceiving women's desires and ambitions.

At the same time, the artists considered here generally share the belief that gender identity, on which feminism is after all founded, is itself no longer unitary. Taking control (for a long time this was the working title for our book) of the way their sexuality is pictured is a driving force for much of this work, from Catherine Opie's richly formal but highly confrontational portraits of cross-dressing leather dykes, to Kara Walker's blistering depictions of interracial sexual violence. Determined to fashion their own sexual identities, younger women tend to be acutely sensitive to the ways in which commercial visual culture confines their choices. They embrace the realization that it is impossible, and undesirable, to divide gender into a simple binary of straight and gay, or male and female.

Just as the positions sketched out by these women for personal identity are deliberately loose, their modes of work unsettle traditional notions of how art is produced. Many have chosen to work in collaboration; Liza Lou's work with craftswomen in South Africa is one example; Jane and Louise Wilson, and Nathalie Djurberg (who works with musician Hans Berg), are among the many women included in this book who have chosen, often or always, to work in partnerships. One result of this decentered authorship is the possibility of compounded inventiveness.

Crafting new modes of domesticity, of romantic and professional partnership, these artists are creating lives that mirror those pictured in their work, and vice versa. Many live deep in a matrix within which the authentic is nearly impossible to disentangle from the constructed, the individual from the collective. From Cao Fei's online animated world at one extreme, to the quasi-utopian, real-life community of Andrea Zittel's High Desert Test Sites at another, the work these women do aims some heavy blows at already weakened barriers between art and everything else.

The project of assembling a book about women artists inevitably raises questions about whether sexual parity hasn't made arguments on behalf of women artists unnecessary. The statistics we've assembled for both our first book and our second show that while significant progress has been made, there is still work to be done. In After the Revolution we looked at the percentage of women artists given solo exhibitions in galleries and museums and featured in monographs to assess progress in achieving professional parity with male artists (see table 1 and 2). In each case, the...


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