Book Description
Feminism and Contemporary Art discusses the work of individual women artists within the context of the wider social, physical and political world. Jo Anna Isaak looks at the work of a diverse range of artists from the United States, the former Soviet Union, the United Kingdom and Canada. She discusses the work of such women as Barbara Kruger, Cindy Sherman, Nancy Spero, Elaine Reichek, Jeanne Silverthorne, Mary Kelly, Lorna Simpson and the Guerrilla Girls, and examines a range of work by twentieth-century Soviet women artists. Isaak argues that contemporary art under the influence of feminism provides the momentum for a comic critique of key assumptions about art, art history, and the role of the artist.
Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter FROM THE PUBLISHER
Feminism and Contemporary Art discusses the work of individual women artists within the context of the wider social, physical and political world. Jo Anna Isaak looks at the work of a diverse range of artists from the United States, the former Soviet Union, the United Kingdom and Canada. She discusses the work of such women as Barbara Kruger, Cindy Sherman, Nancy Spero, Elaine Reichek, Jeanne Silverthorne, Mary Kelly, Lorna Simpson and the Guerrilla Girls, and examines a range of work by twentieth-century Soviet women artists. Isaak argues that contemporary art under the influence of feminism provides the momentum for a comic critique of key assumptions about art, art history, and the role of the artist.
FROM THE CRITICS
Ingrid Schaffner - Art Journal
One of the most praiseworthy aspects of Isaak's book is the spirited sense of immediacy with which she responds to art....[H]er own ironic voice and humorous experiences (a dinner with Clement Greenberg is fondly remembered) are welcomely candid disclosures of the subjectivity that underlies all histories.
Ingrid Schaffner - Art Journal
One of the most praiseworthy aspects of Isaak's book is the spirited sense of immediacy with which she responds to art....[H]er own ironic voice and humorous experiences (a dinner with Clement Greenberg is fondly remembered) are welcomely candid disclosures of the subjectivity that underlies all histories.