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Description
The untold story of women artists in the United States and the social impact of their work during the crucial decades of the 1950s to the 1970s.
In Women Artists in Midcentury America, readers embark on a journey spanning two decades, delving into the evolving social and artistic landscapes through the lens of all-women exhibitions. These groundbreaking projects courageously confronted issues of sexual and racial discrimination, igniting profound discussions about women's roles within modernism and democracy. Looking closely at the inception and reception of these exhibitions by curators, artists, critics, and the public, the book sheds light on the remarkable contributions of numerous artists, from Ruth Asawa to Marguerite Zorach. By foregrounding the accomplishments of women artists during a conservative period overshadowed by the feminist movement of the 1970s, Daniel Belasco provides a fresh perspective on the complex history of women's art in America and its significance in the broader art world.
Product Details
| Publisher | Reaktion Books |
| Publish Date | April 26, 2024 |
| Pages | 320 |
| Language | English |
| Type |  Hardback |
| EAN/UPC | 9781789148435 |
| Dimensions | 9.3 X 6.9 X 1.0 inches | 2.2 pounds |
About the Author
Daniel Belasco is an art historian, curator, and executive director of the Al Held Foundation in New York. He has written widely on midcentury American women artists.
Reviews
"Women Artists in Midcentury America is a timely and essential contribution to art historical knowledge of women artists and the wide variety of institutions that supported them with all-women shows from 1943 to 1962. . . . it also puts many new artists, works of art, and exhibition venues on the scholarly radar. . . . Highly recommended."-- "Choice"
"Women Artists in Midcentury America shines a light on the complexities of women's art. . . . Intended to be a social history rather than a feature of specific artists or art movements, Women Artists in Midcentury America succeeds in this . . . [and] is made more readable and accessible by avoiding excessive jargon and by presenting each exhibition from a more conversational style, telling the stories of how they came to be. Belasco maintains a consistent energy and interest throughout, which makes for a cohesive overall work."-- "ARLIS/NA Reviews"
"In this well-researched survey, art historian Belasco takes on a particular cultural moment: the relatively conservative period when women were emerging as a force in contemporary art, but before the feminist art movements and calls for greater representation of the 1960s and '70s. . . . Belasco plumbs publicity material, photographs, correspondence, and reviews to dive deeply into each show and its art-world reverberations. Belasco's presentation is academic but accessible, and his scholarship is rewardingly thorough. . . . He pays close attention to the frequent exclusion of the art of women of color from these shows . . . and points to Black, Asian, Native, and Latina artists of the time. . . . Scholarly in tone, this would be a good inclusion for a contemporary art history collection, with appeal for students, researchers, or anyone with a strong interest in modern art or women's studies."-- "Library Journal"
"Belasco illuminates the stakes made and strides taken by remarkable female artists, curators, and critics."-- "Gagosian Quarterly"
"An impeccably researched and illuminating history of the all-woman exhibition in the United States, prior to the emergence of the Women's Movement. Belasco provides a compelling, richly textured account of the vital role institutions, artists, critics, and curators played in mounting groundbreaking exhibitions of work by women artists in an era marked by conservative values and sexual and racial discrimination."--Jo Applin, professor in the history of art, Courtauld Institute of Art
"Belasco reveals a wealth of new information in this well-researched, captivating study. Interweaving stories of lesser-known and more celebrated exhibitions and artists, he significantly amplifies our understanding of women and the art world at midcentury."--Elizabeth Smith, Executive Director, Helen Frankenthaler Foundation
"Belasco's book offers detailed research that scholars will make use of for years to come, following the threads of individual artists, curators, dealers, and other figures. But it's the stories themselves that will stay with you: surprising, infuriating, inspiring."--Katy Siegel, Distinguished Professor, Stony Brook University, Research Director, SFMOMA
"Women Artists in Midcentury America shines a light on the complexities of women's art. . . . Intended to be a social history rather than a feature of specific artists or art movements, Women Artists in Midcentury America succeeds in this . . . [and] is made more readable and accessible by avoiding excessive jargon and by presenting each exhibition from a more conversational style, telling the stories of how they came to be. Belasco maintains a consistent energy and interest throughout, which makes for a cohesive overall work."-- "ARLIS/NA Reviews"
"In this well-researched survey, art historian Belasco takes on a particular cultural moment: the relatively conservative period when women were emerging as a force in contemporary art, but before the feminist art movements and calls for greater representation of the 1960s and '70s. . . . Belasco plumbs publicity material, photographs, correspondence, and reviews to dive deeply into each show and its art-world reverberations. Belasco's presentation is academic but accessible, and his scholarship is rewardingly thorough. . . . He pays close attention to the frequent exclusion of the art of women of color from these shows . . . and points to Black, Asian, Native, and Latina artists of the time. . . . Scholarly in tone, this would be a good inclusion for a contemporary art history collection, with appeal for students, researchers, or anyone with a strong interest in modern art or women's studies."-- "Library Journal"
"Belasco illuminates the stakes made and strides taken by remarkable female artists, curators, and critics."-- "Gagosian Quarterly"
"An impeccably researched and illuminating history of the all-woman exhibition in the United States, prior to the emergence of the Women's Movement. Belasco provides a compelling, richly textured account of the vital role institutions, artists, critics, and curators played in mounting groundbreaking exhibitions of work by women artists in an era marked by conservative values and sexual and racial discrimination."--Jo Applin, professor in the history of art, Courtauld Institute of Art
"Belasco reveals a wealth of new information in this well-researched, captivating study. Interweaving stories of lesser-known and more celebrated exhibitions and artists, he significantly amplifies our understanding of women and the art world at midcentury."--Elizabeth Smith, Executive Director, Helen Frankenthaler Foundation
"Belasco's book offers detailed research that scholars will make use of for years to come, following the threads of individual artists, curators, dealers, and other figures. But it's the stories themselves that will stay with you: surprising, infuriating, inspiring."--Katy Siegel, Distinguished Professor, Stony Brook University, Research Director, SFMOMA
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