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Summary
Summary
Fifth Edition
Whitney Chadwick's acclaimed study challenges the assumption that great women artists are exceptions to the rule who 'transcended' their sex to produce major works of art. While acknowledging the many women whose contributions to visual culture since the Middle Ages have often been neglected, Chadwick's survey amounts to much more than an alternative canon of women artists: it re-examines the works themselves and the ways in which they have been perceived as marginal, often in direct reference to gender. In her discussion of feminism and its influence on such a reappraisal, the author also addresses the closely related issues of ethnicity, class, and sexuality.
This revised edition features a completely new chapter that charts the evolution of feminist art history and pedagogy since the 1970s, revealing how artists have developed and subverted the strategies of feminism.
It is brought up to date with a discussion of some of the most significant international women artists to have emerged in recent years, including Wangechi Mutu, Pae White, Yael Bartana, Jenny Saville, and Teresa Margolles.
Author Notes
Whitney Chadwick is Professor of Art at San Francisco State University. She has lectured and published widely in the areas of surrealism, feminism, and contemporary art. She lives in San Francisco, California.
Reviews (1)
Choice Review
This volume, the fifth edition in 22 years (1st ed., CH, Sep'90, 28-0068), must be acknowledged as a standard, highly successful work. In addition to new introductory remarks, this edition also offers a new final chapter titled "Enduring Legacy of Feminism"--a summary of significant recent contributions to the field. Chadwick (emer., San Francisco State Univ.) states that women artists are reexamining old assumptions and investigating new structures of meaning and experience. In the new chapter, she provides a sampling of contemporary women artists and claims that much of postmodern art has feminist art at its source. The author affirms Holland Cotter's statement that the legacy of earlier feminism heavily informs new artists' work. Yet feminist art and women's art in general has yet to be incorporated into general art historical sources, as evidenced by the continued production of books dedicated to women artists, including this one. Women's art--like the artwork of any other minority (much of which is discussed in this volume)--can claim final victory only when it becomes part of the mainstream in all aspects of literary and visual culture. Summing Up: Recommended. Upper-level undergraduates through researchers/faculty; general readers. L. Doumato National Gallery of Art