- Hardcover: 406 pages
- Publisher: University of California Press (2 July 2002)
- Language English
- ISBN-10: 0520230655
- ISBN-13: 978-0520230651
- Product Dimensions: 22.2 x 3.8 x 25.4 cm
- Amazon Bestsellers Rank: 5,062,350 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Description
Review
"An impressive and illuminating survey of art by women in California during the last half of the 20th century. Some of the images are intentionally shocking and unsettling, some are fanciful and lyrical, some are unashamed works of agitprop, and a few are all of these at once. . . . The art . . . always speaks for itself, and thus allows us to understand what the essayists are trying to say."--"Los Angeles Times Book Review
Product Description
Art/Women/California 1950-2000: Parallels and Intersections is an unprecedented examination of the impact that specific women artists, working in California in the second half of the twentieth century, have had on broadening the definition of art. Twenty preeminent scholars from diverse cultural backgrounds investigate how the vast sociopolitical changes of the post-World War II era affected these women and how the ensuing events influenced the art that they produced. This book outlines the role these pivotal artists and their work played in reshaping the California cultural profile into what it is today. Illustrated with more than one hundred color plates and duotones, Art/Women/California 1950-2000 reveals the richness of this fifty-year period by contrasting and comparing the artists and their varied artistic practices in relation to the larger sociopolitical context. The book employs a variety of historical perspectives to reflect the distinct and parallel experiences of California's major cultural communities while revealing points of intersection by analyzing shared themes and practices. Because California serves as a gateway for a myriad of immigrants and an epicenter for the feminist movement, and because of its history of activism, its culture of experimentation, and its reputation for innovative technology and media, the state has evolved into a crucial and inspirational environment for women artists. Their work continues to transform our perceptions and revitalize art's connections to its surrounding environment and community. Exploring the conjuncture between place and artistic activity from multiple perspectives, this book stands as a testament to the rich diversity that is contemporary California culture.
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1 of 1 people found the following review helpful
Is This the New Academicism?
16 April 2011
Format:Paperback
These type of art books seem to come in two varieties: 1) heavy on history and criticism or 2) overflowing with plates and reproductions. This book is in the former category, and in all honesty, it should probably have been titled "Art/Feminism/California, 1950-2000", because the art criticism is definitely slanted with a particular ideology. Prepare to stumble across rather meaningless and I think, stupidly antiquated, phrases like "the male gaze".
Nevertheless, there is a vast amount of information here. The book can be valuable, then, in a couple of ways. One can read it as a guidebook to contemporary (or at least, modern) west coast, feminist artists-- or, as an index of informed, and sometimes fearlessly politically correct art criticism. I found the segment by Amelia Jones the most entertaining and least pretentious example, partly because it comes in the form of a spontaneous interview. Most of the book seems uncomfortably bent on classifying artists according to ethnicity. Personally, I like multiculturalism, but when it becomes a matter of stuffing everyone into a category, as in "Chicanos here, Asians there", I rebel.
In fact, as scholarly and erudite as books like this one may be, they suggest that today's young female artist may face a different, but equally difficult form of "Obstacle Course", if they wish to follow the established and politically correct paradigms laid out in this book, in order to qualify as an "authentic", precedent-minded female artist.
Nevertheless, there is a vast amount of information here. The book can be valuable, then, in a couple of ways. One can read it as a guidebook to contemporary (or at least, modern) west coast, feminist artists-- or, as an index of informed, and sometimes fearlessly politically correct art criticism. I found the segment by Amelia Jones the most entertaining and least pretentious example, partly because it comes in the form of a spontaneous interview. Most of the book seems uncomfortably bent on classifying artists according to ethnicity. Personally, I like multiculturalism, but when it becomes a matter of stuffing everyone into a category, as in "Chicanos here, Asians there", I rebel.
In fact, as scholarly and erudite as books like this one may be, they suggest that today's young female artist may face a different, but equally difficult form of "Obstacle Course", if they wish to follow the established and politically correct paradigms laid out in this book, in order to qualify as an "authentic", precedent-minded female artist.
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