The conventional history of art is one of great men making great paintings, and displaying their works to a predominantly male audience in male-run institutions. Women, however, have had a role, often working behind the scenes, out of sight or in resistance to prevailing attitudes and practices. And it is in these exceptions to the rules of the masculine world of art-making that women artists have been perceived as groundbreaking, defiant and even subversive. A compelling selection of more than 60 artists from the early Renaissance to the present day, among them Judith Leyster, Mary Cassatt, Frida Kahlo and Louise Bourgeois, Danger! Women Artists at Work explores the most intriguing and provocative aspects of art by women who shook up the art world. Through a lively introduction and six thematic chapters dealing with such subjects as the ways in which women have challenged the boundaries of expression and how they have viewed the human body, Debra N. Mancoff presents an absorbing tale of those who have struggled and triumphed in their efforts to transform the visual arts.

The idea that women are dangerous ? individually or collectively ? runs throughout history and across cultures. Behind this label lies a significant set of questions about the dynamics, conflicts, identities and power relations with which women live today.0'The Art of Being Dangerous' offers many different images of women, some humorous, some challenging, some well-known, some forgotten, but all unique. In a dazzling variety of creative forms, artists and writers of diverse identities explore what it means to be a dangerous woman.0With almost 100 evocative images, this collection showcases an array of contemporary art that highlights the staggering breadth of talent among today?s female artists. It offers an unparalleled gallery of feminist creativity, ranging from emerging visual artists from the UK to multi-award-winning writers and translators from the Global South.

The idea that women are dangerous – individually or collectively – runs throughout history and across cultures. Behind this label lies a significant set of questions about the dynamics, conflicts, identities and power relations with which women live today. The Art of Being Dangerous offers many different images of women, some humorous, some challenging, some well-known, some forgotten, but all unique. In a dazzling variety of creative forms, artists and writers of diverse identities explore what it means to be a dangerous woman. With almost 100 evocative images, this collection showcases an array of contemporary art that highlights the staggering breadth of talent among today’s female artists. It offers an unparalleled gallery of feminist creativity, ranging from emerging visual artists from the UK to multi-award-winning writers and translators from the Global South. Contributors: Margie Orford, Meredith Bergmann, K.E. Carver, Sasha de Buyl-Pisco, Mary Paulson-Ellis, Melissa Álvaro Mutolo, Kerri Turner, Heshani Sothiraj Eddleston, Joanie Conwell, Dilys Rose, Alison Jones, Sim Bajwa, Hilaire, Tara Pixley, Leonie Mhari, Kate Feld, Millie Earle-Wright, Helen Boden, Elif Sezen, Rebecca Vedavathy, Irene Hossack, SE Craythorne, Roisin Kelly, Nkateko Masinga, Elaine Gallagher, Ildiko Nova, Rachel Roberts, susan c. dessel, Savanna Scott Leslie, Heather Pearson, Eva Moreda Rodriguez, Tanya Krzywinska, Siris Gallinat, Clare Archibald, Maya Mackrandilal, Zuhal Feraidon, Anna Brazier, Shirley Day, Treasa Nealon, Satdeep Grewal, Lucy Walters, Priyanthini Guns, Kate Schneider, Alana Tyson, Jayde Kirchert, Boris Eldagsen, Brenda Rosete, Victoria Duckett, Patricia Allmer, JL Williams, Carly Brown, Sotiria Grek, Sepideh Jodeyri, Brooke Bolander, Maria Stoian, Maria Fusco, Claire Askew and Marianne Boruch.

For Atlanta, the early decades of the twentieth century brought chaotic economic and demographic growth. Women--black and white--emerged as a visible new component of the city's population. As maids and cooks, secretaries and factory workers, these women served the "better classes" in their homes and businesses. They were enthusiastic patrons of the city's new commercial amusements and the mothers of Atlanta's burgeoning working classes. In response to women's growing public presence, as Georgina Hickey reveals, Atlanta's boosters, politicians, and reformers created a set of images that attempted to define the lives and contributions of working women. Through these images, city residents expressed ambivalence toward Atlanta's growth, which, although welcome, also threatened the established racial and gender hierarchies of the city. Using period newspapers, municipal documents, government investigations, organizational records, oral histories, and photographic evidence, Hope and Danger in the New South City relates the experience of working-class women across lines of race--as sources of labor, community members, activists, pleasure seekers, and consumers of social services--to the process of urban development.

What does it mean for the Sun to call Shami Chakrabarti ‘the most dangerous woman in Britain’ or the Daily Mail to label Nicola Sturgeon ‘the most dangerous wee woman in the world’? What, really, does it mean to be a dangerous woman? This powerful anthology presents fifty answers to that question, reaching past media hyperbole to explore serious considerations about the conflicts and power dynamics with which women live today. In Dangerous Women, writers, artists, politicians, journalists, performers and opinion-formers from a variety of backgrounds – including Irenosen Okojie, Jo Clifford, Bidisha, Nada Awar Jarrar, Nicola Sturgeon and many more – reflect on the long-standing idea that women, individually or collectively, constitute a threat. In doing so, they celebrate and give agency to the women who have been dismissed or trivialised for their power, talent and success – the women who have been condemned for challenging the status quo. They reclaim the right to be dangerous.

A captivating tour of the bookshelves of ten leading artists, exploring the intricate connections between reading, artistic practice, and identity Taking its inspiration from Walter Benjamin's seminal 1931 essay, the Unpacking My Library series charts a spirited exploration of the reading and book collecting practices of today's leading thinkers. Artists and Their Books showcases the personal libraries of ten important contemporary artists based in the United States (Mark Dion, Theaster Gates, Wangechi Mutu, Ed Ruscha, and Carrie Mae Weems), Canada (Janet Cardiff and George Bures Miller), and the United Kingdom (Billy Childish, Tracey Emin, and Martin Parr). Through engaging interviews, the artists discuss the necessity of reading and the meaning of books in their lives and careers. This is a book about books, but it even more importantly highlights the role of literature in shaping an artist's self-presentation and persona. Photographs of each artist's bookshelves present an evocative glimpse of personal taste, of well-loved and rare volumes, and of the individual touches that make a bookshelf one's own. The interviews are accompanied by "top ten" reading lists assembled by each artist, an introduction by Jo Steffens, and Marcel Proust's seminal essay "On Reading."