3/2/2023 0 Comments Genre lucine another tomorrow![]() ![]() The panel was to examine some of the theoretical and practical concerns facing feminist art history and its treatment of individual women artists. In the spring of 1996 I issued a call for papers to be presented at a panel entitled “The Politics of Rediscovery: The Monograph and Feminist Art History” at the College Art Association's annual meeting the following February. ― 1 ― INTRODUCTION HISTORIES, SILENCES, AND STORIES KRISTEN FREDERICKSON To the female artists and writers in our lives who provide us with encouragement and inspiration through their words and images we offer our respect and grateful thanks: Brenna Beirne, Kate Teale, Mary Margaret O'Brien, Lesley Dill, Amanda Guest, Kathleen Kucka, L.C. Our families-our husbands, John Curran and Michael Bobrow our parents, Suzanne and Paul Frederickson and Elizabeth and Pierce Webb and our parents-in-law, Rosemary and John Curran and Barbara and Sam Bobrow-listened tirelessly to our reports on the progress of this project from panel discussion to finished manuscript and offered us helpful analysis of the ideas themselves. Chris Morse assisted us by transcribing key documents. David Cast, Catherine Soussloff, and Janet Wolff offered insightful comments and encouragement, and the graduate students in the “Gender and Difference” and “Theory and Criticism” seminars at Hunter College and the Master's Program at Christie's Education gave us thoughtful reactions to the book-in-progress. To all of the contributors for their hard work and patience, and to the artists whose work is reproduced, we thank you for your belief in this project. We would like to thank those who attended and urged us to continue this discussion as a book. We thank the association for their pivotal role in the development of this book. Singular Women grew out of a panel, “The Politics of Rediscovery: The Monograph and Feminist Art History,” presented at the College Art Association's 1997 national conference in New York. Courtesy the Estate of Francesca Woodman, Betty © Louise Bourgeois/licensed by VAGA,įrancesca Woodman, from Space, 2 1975–76, silver Louise Bourgeois, The Destruction of the Father, 1974, Courtesy of the artistĬarolee Schneemann, letter to Kristine Stiles, June 17, Nancy Spero, Codex Artaud XVII (detail), 1972, typewriterĪnd painting collage. © Elizabeth Catlett/licensed by VAGA, New York. Photograph courtesyĮlizabeth Catlett, Mother and Child, 1959, mahogany. Hearst Communications,Įleanor Agnes Raymond, Natalie Hays Hammond Shown by permission from Houseīeautiful, © October 1932. Jo Hopper, Self-Portrait, 1956, oil on canvasĮleanor Agnes Raymond, Rachel Raymond House, Belmont, ![]() Jo Hopper, Judson Tower, Washington Square, Looking University in the City of New York, gift of the Jessie Willcox Smith, First the Infant in Its Mother'sįlorine Stettheimer, Portrait of Myself, 1923, oil on canvas.Ĭolumbia University in the City of New York, giftįlorine Stettheimer, Nude, ca. Of American History, Smithsonian Institution, Sally Mann, Untitled (Virginia Landscape), 1995, silver Courtesy Edwynn Houk Gallery,Ĭlementina Hawarden, Untitled, 1857–64, photograph.Ĭourtesy of the Board of Trustees of The Victoria and ![]() Sally Mann, Untitled (Georgia Landscape), 1996, silver Sally Mann, Sempervirens “Stricta,” 1995, silver print. Alinari/Art Resource, NewĬlementina Hawarden, Dundrum Series, 1858–61, Scala/ArtĮlisabeth Vigée-Lebrun, Self-Portrait, 1783, oil on canvas. Judith Leyster, The Proposition, 1631, oil on canvas. Trustees, National Gallery of Art, Washington, D.C. Artemisia Gentileschi, Judith Slaying Holofernes, ca. ![]()
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