Examines the work of artists trained at the Viennese Women's Academy in the late nineteenth and early twentieth centuries. Explores generational struggles and diverging artistic philosophies on art, craft, and design.

Amy Sara Carroll's Secession is a breakthrough album of poetry, art, theory, and more from the West Coast's leading publisher in the avant-garde, Hyperbole Books.Holly Hughes writes that Secession is a "luscious and challenging book" that "evokes the different meanings of secession... [Carroll's] knowledge of the complicated roles that femininities have played in this country's ongoing racial dramas, informs the work, as does a girlhood spent on the border of Texas and Mexico, where questions of nations, maps, and belonging linger. But there are other meanings of secession invoked in this collection, meanings that have a progressive ancestry. Second-wave feminism and early lesbian culture were haunted by the dream of seceding from the patriarchy, and similar aspirations shaped other social change movements. And, while the dream of secession came to be dismissed as naive or worse in the late twentieth century, contemporary theorists like Jill Dolan and Jose Munoz are excavating these leftist secessionist moments and taking a second look at their utopian foundations." Hughes adds that Carroll "flirts with secession on an aesthetic level, as a way to resist the false separations we've created between the word as it exists on the page and as it exists, embodied, on the stage, as well as the separation between the word as text and the word as image."Secession is the first volume in the Bi Sheng/Juan Pablos Digitovisuo Artifacts series, Hyperbole Books' new publishing line that bridges the semantic and the semiotic.Amy Sara Carroll is Assistant Professor of American Culture, Latina/o Studies, and English at the University of Michigan, Ann Arbor. She received a Ph.D. in Literature from Duke University (2004), and an MFA in Creative Writing (Poetry) from Cornell University (1995).

Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art. Tracing the history of the women’s art movement in Secessionist Vienna—from its origins in 1897, at the Women’s Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women’s art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria’s women’s art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group’s ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel. Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as “works from women’s hands.” It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.

Gustav Klimt's art thoroughly expresses the apocalyptic atmosphere of Vienna's upper middle-class society - a society devoted to the cultivation of aesthetic awareness and the cult of pleasure. The ecstatic joy which Klimt and his contemporaries found - or hoped to find - in beauty was constantly overshadowed by death. And death therefore plays an important role in Klimt's art. Klimt's fame, however, rests on his reputation as one of the greatest erotic painters and graphic artists of his times. In particular, his drawings, which have been widely admired for their artistic excellence, are dominated by the erotic portrayal of women. Klimt saw the world "in female form". [site accessed 23/07/2012 - http://www.amazon.com/Gustav-Klimt-1862-1918-Basic-Art/dp/382285980X].

Women in Civil War Texas is the first book dedicated to the unique experiences of Texas women during the Civil War. It fills the literary void in Texas women’s history during this time, connects Texas women’s lives to southern women’s history, and shares the diversity of experiences of women in Texas during the Civil War. An introductory essay situates the anthology within both Civil War and Texas women’s history. Contributors explore Texas women and their vocal support for secession and in support of a war, coping with their husbands’ wartime absences, the importance of letter-writing as a means of connecting families, and how pro-Union sentiment caused serious difficulties for women. They also analyze the effects of ethnicity, focusing on African American, German, and Tejana women’s experiences. Finally, two essays examine the problem of refugee women in east Texas and the dangers facing western frontier women. These essays develop the historical understanding of what it meant to be a Texas woman during the Civil War and also contribute to a deeper understanding of the complexity of the war and its effects.

A Pulitzer Prize Winner and landmark book from one of the truly original scholars of our time: a magnificent revelation of turn-of-the-century Vienna where out of a crisis of political and social disintegration so much of modern art and thought was born. "Not only is it a splendid exploration of several aspects of early modernism in their political context; it is an indicator of how the discipline of intellectual history is currently practiced by its most able and ambitious craftsmen. It is also a moving vindication of historical study itself, in the face of modernism's defiant suggestion that history is obsolete." -- David A. Hollinger, History Book Club Review "Each of [the seven separate studies] can be read separately....Yet they are so artfully designed and integrated that one who reads them in order is impressed by the book's wholeness and the momentum of its argument." -- Gordon A. Craig, The New Republic "A profound work...on one of the most important chapters of modern intellectual history" -- H.R. Trevor-Roper, front page, The New York Times Book Review "Invaluable to the social and political historian...as well as to those more concerned with the arts" -- John Willett, The New York Review of Books "A work of original synthesis and scholarship. Engrossing." -- Newsweek

The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group.