Description
Book SynopsisThis important interdisciplinary book is a unique and timely contribution to the field of women in the arts. Each chapter is devoted to a single artist and a single ground-breaking work that altered the course of its art form in a full array of genres, including dance, music, installation, photography, architecture, poetry, literature, theater, film, performance art, and popular culture. These discussions are preceded by a comprehensive introduction to art by women over the past century that sets the artists who follow in a context that insightfully illuminates their struggles, their achievements, and their places in history at a critical moment in the contemporary world.
In this second edition, the authors have made a significant update with six new chapters, new photos, and a revised introduction. The new chapters take as their subjects the contributions of Yoko Ono, Crystal Pite, Caroline Shaw, Beyoncé, Kara Walker, and Diane Paulus. Each of the new chapters represen
Table of Contents
List of Illustrations – Preface – Acknowledgements – Deborah J. Johnson/Wendy Oliver: Introduction – Deborah J. Johnson: The Political Dialogic of Yoko Ono’s Cut Piece (1964) – Wendy Oliver: Disappearing Act: Yvonne Rainer, Trio A, and the Feminist Dilemma (1966) – Annie Perkins: The Poetry of Gwendolyn Brooks (1970s–’80s) – Deborah J. Johnson: The Secularization of the Sacred: Judy Chicago’s Dinner Party and Feminist Spirituality (1974–79) – Maura Reilly: Cindy Sherman’s Untitled Film Stills: Reproductive or Transgressive Mimicry? (1977–81) – Loretta Lorance: Zaha Hadid: The Peak Club Competition and the Politics of Architecture (1982) – Phillipa Kafka: Erecting a Statue of an Unknown Goddess in Amy Tan’s The Kitchen God’s Wife (1991) – Denise Bauer: Jane Campion’s The Piano: A Feminist Tale of Resistance (1993) – Sarah Lansdale Stevenson: Yielding to Multiplicity: The Kaleidoscopic Subject of Paula Vogel’s How I Learned to Drive (1997) – Wendy Oliver: Crystal Pite’s Emergence: Hierarchy, Swarm Intelligence, and Contemporary Ballet (2009) – Christina L. Reitz: A Firm Foundation: Formal Tradition in Caroline Shaw’s Partita for 8 Voices (2009–2012) – Deborah J. Johnson: Beygency: Power, Sex, and Subjectivity in the Feminist Politics of Beyoncé Knowles-Carter (2013) – Rebecca Peabody: Ephemeral Monumentality and the Art of the Future: Kara Walker’s A Subtlety (2014) – Jennifer Madden: Having Her Pie and Eating It Too: Waitress and the Popular Art of Diane Paulus (2016) – Contributors – Index.
