Marsha Meskimmon

With 43 illustrations of works by Louise Bourgeois, Frida Kahlo, Alice Neel, Cindy Sherman, and Jo Spence, among others, The Art of Reflection is the first sustained inquiry into the appropriation of self-portraiture by women painters, photographers, scultptors, and performance artists.

Women Artists' Self-portraiture in the Twentieth Century

The Art of Reflection

Maria Photiou

Art, Borders and Belonging: On Home and Migration investigates how three associated concepts-house, home and homeland-are represented in contemporary global art. The volume brings together essays which explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, home-makings, through which the construction of migratory narratives are made possible. Although centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, the contributions to this book also explore how curating and exhibition practices, at both local and global levels, can extend and challenge conventional narratives of art, borders and belonging. A growing number of artists migrate; some for better job opportunities and for the experience of different cultures, others not by choice but as a consequence of forced displacement caused economic or environmental collapse, or by political, religious or military destabilization. In recent years, the theme of migration has emerged as a dominant subject in art and curatorial practices. Art, Borders and Belonging thus seeks to explore how the migratory experience is generated and displayed through the lens of contemporary art. In considering the extent to which the visual arts are intertwined with real life events, this text acts as a vehicle of knowledge transfer of cultural perspectives and enhances the importance of understanding artistic interventions in relation to home, migration and belonging.

On Home and Migration

Art, Borders and Belonging

Meskimmon asks why women artists were left out of the canon of German modernism, tracing the reasons to the construction of a unified (male) history of art that in effect denied women a voice. The book is an effort to reconceive the period's art history and the perspective of the Weimar woman artist.

Women Artists and the Limits of German Modernism

We Weren't Modern Enough

Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognized altogether. Women Making Art asks why this is so, and what it would take for us to realize the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilizes contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasizing the diversity of women's art and the importance of differences between women.

History, Subjectivity, Aesthetics

Women Making Art

Cornelia H. Butler

Valerie Smith

Helen Anne Molesworth

Abigail Solomon-Godeau

Vancouver Art Gallery

Catherine Lord

Peggy Phelan

National Museum of Women in the Arts (U.S.)

Nelly Richard

Jenni Sorkin

Judith Russi Kirshner

Institute for Contemporary Art (New York, N.Y.)

Richard Meyer (umetnostni zgodovinar.)

Accompanied by critical essays and analysis, a groundbreaking collection of art produced by women artists during the 1970s reveals the influence of the feminist revolution on art in works by Judy Chicago, Louise Bourgeois, Susan Hiller, Yoko Ono, Hannah Wilke, Faith Ringgold, Cindy Sherman, Joan Semmel, Miriam Shapiro, Lucy Lippard, and many others.

Art and the Feminist Revolution

WACK!

Marsha Meskimmon

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