From women's representations of the "Blitz" and the liberation of Belsen to contemporary icons like Rachel Whiteread's Holocaust Monument in Vienna, this book explores the contribution made by women artists to our understanding of war.

Published on the occasion of the centenary of World War I, this Bulletin, which accompanies the related exhibition “World War I and the Visual Arts,” on view at The Met until January 7, 2018, explores the myriad and often contradictory ways in which artists responded to the world’s first modern war. Drawn primarily from The Met’s collection of works on paper and supplemented with loans from private collections, both presentations move chronologically from the initial mobilization in early August 1914 to the tumultuous decade that followed the armistice of November 1918. Ranging from expressions of bellicose enthusiasm to sentiments of regret, grief, and anger, the selected works—from prints, photographs, and drawings to propaganda posters, postcards, and commemorative medals—powerfully evoke the conflicting emotions of this complex period. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

The rise of proxy wars, the Space Race, and cybernetics during the Cold War marked science and technology as vital sites of social and political power. Women artists, historically excluded from these domains, responded critically, while simultaneously redeploying the products of "Technological Society" into works that promoted ideals of progress and alternative concepts of human community. In this innovative book, author Christine Filippone offers the first focused examination of the conceptual use of science and technology by women artists during and just after the women?s movement. She argues that artists Alice Aycock, Agnes Denes, Martha Rosler and Carolee Schneemann used science and technology to mount a critique on Cold War American society as they saw it?conservative and constricting. Motivated by the contemporary American Women?s Movement, these artists transformed science and technology into new modes of artmaking that transgressed modernist, heroic, painterly styles and subverted the traditional economic structures of the gallery, the museum and the dealer. At the same time, the artists also embraced these domains of knowledge and practice as expressions of hope for a better future. Many found inspiration in the scientific theory of open systems, which investigated "problems of wholeness, dynamic interaction and organization", enabling consideration of the porous boundaries between human bodies and their social, political and nonhuman environments. Filippone also establishes that the theory of open systems not only informed feminist art, but also continued to influence women artists? practice of reclamation and ecological art through the twenty-first century.

Marianne Werefkin and the Women Artists in Her Circle traces the relationships between the modernist artists in Werefkin’s circle, including Erma Bossi, Elisabeth Epstein, Natalia Goncharova, Elizaveta Kruglikova, Else Lasker-Schüler, Marta Liepiņa-Skulme, Elena Luksch-Makowsky, and Maria Marc. The book demonstrates that their interactions were dominated not primarily by national ties, but rather by their artistic ideas, intellectual convictions, and gender roles; it offers an analysis of the various artistic scenes, the places of exchange, and the artists’ sources of inspiration. Specifically focusing on issues of cosmopolitan culture, transcultural dialogue, gender roles, and the building of new artistic networks, the collection of essays re-evaluates the contributions of these artists to the development of modern art. Contributors: Shulamith Behr, Marina Dmitrieva, Simone Ewald, Bernd Fäthke, Olga Furman, Petra Lanfermann, Tanja Malycheva, Galina Mardilovich, Antonia Napp, Carla Pellegrini Rocca, Dorothy Price, Hildegard Reinhardt, Kornelia Röder, Kimberly A. Smith, Laima Laučkaitė-Surgailienė, Baiba Vanaga, and Isabel Wünsche

"The careers and accomplishments of women creators in Western Civilization are described in an accessible and informative mattner in the Second Edition of Women Artists in History: From Antiquity to the 20th Century. Over sixty artists, mostly painters and sculptors, are featured in this book. Selections were based on each woman's unique and important contributions to the history of art. each artist measures up to the same rigorous standards applied to male artists in other survey texts. To understand and appreciate the achievements of these outstanding women, this volume takes a thorough look at the cultural environment in which they lived and worked, as well as the social, economic, and demographic factors that influenced their art." --From back cover

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 female artists from around the globe 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 the Renaissance to Abstract Expressionism for the modern art lover, reader, and feminist.

Collects the best artwork created before, during and following the Civil War, in the years between 1859 and 1876, along with extensive quotations from men and women alive during the war years and text by literary figures, including Emily Dickinson, Mark Twain and Walt Whitman. 15,000 first printing.