Getty Research Institute

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Women’s Art History Masterpost

In honor of International Women’s Day and Women’s History Month, feminist art scholar and research specialist at the Getty Research Institute, Anja Foerschner, selected key publications and journals for those want to explore art by women and feminist art.

The Feminist Art Journal (produced from 1972 to 1977).

The Power of Women and the Subversion of the Community by Mariarosa Dalla Costa and Selma James (1975).

Woman Artists 1550–1950 by Ann S. Harris (1977).

Chrysalis: A Magazine of Women’s Culture. (Produced from 1977 to 1980).
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Feminist Art Criticism: An Anthology by Arlene Raven, Cassandra Langer, and Joanna Ellen Frueh (1988).

Women, Art, and Power: And other Essays by Linda Nochlin (1988).

Women, Art, and Society by Whitney Chadwick (1990).

Art on My Mind: Visual Politics by Bell Hooks (1995).

Woven by the Grandmothers: Nineteenth-Century Navajo Textiles from the National Museum of the American Indian by Eulalie H. Bonar (1996).

Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History by Amelia Jones and Laura Cottingham (1996).

Beyond the Flower: The Autobiography of a Feminist Artist by Judy Chicago (1997).

Angry Women by Andrea Juno and V. Vale (1999).

Lesbian Art in America: A Contemporary History by Harmony Hammond (2000).

Black Feminist Cultural Criticism by Jacqueline Bobo (2001).

The Black Female Body: A Photographic History by Deborah Willis and Carla Williams (2002).

Art/Women/California, 1950–2000: Parallels and Intersections by Diana Burgess Fuller and Daniela Salvioni (2002).

Dark Designs and Visual Culture by Michele Wallace (2004).

Into Performance: Japanese Women Artists in New York by Midori Yoshimoto (2005).

WACK!: Art and the Feminist Revolution by Cornelia Butler and Lisa Gabrielle Mark (2007).

The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America by Charmaine A. Nelson (2007).

Chicana Art: The Politics of Spiritual and Aesthetic Altarities by Laura E. Pérez (2007).

Ana Mendieta by María Ruido (2008).

Visual and Other Pleasures by L. Mulvey (2009).

Modern Women: Women artists at the Museum of Modern Art by Cornelia H. Butler and Alexandra Schwartz (2010).

EyeMinded: Living and Writing Contemporary Art by Kellie Jones (2011).

Women Building History: Public Art at the 1893 Columbian Exposition by Wanda M. Corn, Charlene G. Garfinkle, and Annelise K. Madsen (2011).

After the Revolution: Women Who Transformed Contemporary Art by Eleanor Heartney, Helaine Posner, Nancy Princenthal, Sue Scott, Linda Nochlin (2013).

Visualizing Guadalupe: From Black Madonna to Queen of the Americas by Jeanette Favrot Peterson (2014).

Live Form: Women, Ceramics, and Community by Jenni Sorkin (2016).


We want this list to grow, so please reblog with your favorite resources on art by women and feminist art.

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William Krisel, a pioneering architect who brought his vision of modernism to Southern California tract housing, died Monday at age 92.

Tract housing often implies cookie-cutter. But in Palm Springs, Krisel varied homes’ rooflines, paint schemes, and setbacks from the street so no two tract homes next to each other looked the same — despite all having one basic floorplan. He also popularized the “butterfly” roof.

His homes featured open floorplans and clerestory windows to bring in even more light.

William Krisel, Architect Who Helped Define California Modernism, Dies At 92

Photos: Darren Bradley/Courtesy of Darren Bradley and Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

Variante de El eco de oro (1966), de Mathias Goeritz, en una de las terrazas, Oficinas de la firma ‘R. Legorreta V. Arquitectos’, Palacio Versalles 285, Lomas de Reforma, México, DF

Foto.  Julius Shulman (Getty Research Institute)

Variation of the ‘El eco de oro’ (Golden Eco) (1966) by Mathais Goeritz on a terrace, Offices of the firm ‘R. Legorreta V. Arquitectos’, Palacio Versalles 285, Lomas de Reforma, Mexico City  

Edificio Sor Juana Inés de la Cruz de la Unidad El Rosario I (Álvarez, Meza y Álvarez, [plan maestro: Legorreta Arquitectos] 1974-75), 1975 x Julius Shulman

© J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10)

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The Legacy of Ancient Palmyra

The intentional destruction of Palmyra’s best-preserved monuments by ISIS in 2015 and 2017 was an attempt to erase its illustrious history and deprive current, and future, generations access to these remarkable vestiges of a past civilization.

The devastation unleashed in Syria today forces a renewed interpretation of the early prints and photographs presented in an new online-only exhibition about the Legacy of Ancient Palmyra.

They gain more significance as examples of cultural documents that can encourage a deeper investment in understanding humanity’s past achievements relevant to all historic sites. Understanding Palmyra through these invaluable accounts preserves its memory and connects us with its grandeur and enduring legacy.

Long before it was rebuilt in its current incarnation in 1996, Angels Flight carried people to and from the Bunker Hill neighborhood in Los Angeles. This little funicular railway even made its way onto postcards back in the day. The Getty has one for you.

We’re teaming up with the Getty’s tumblr to bring you historic Los Angeles images on Wednesdays through August 6 as part of No Further West.

caption: Charles C. Pierce (1861-1946), Angels Flight, N. Broadway, Los Angeles, 1907. Gelatin silver print, 20 x 25 cm. View of the Bunker Hill district with the funicular, Angels Flight to the left. Title and date from verso. The Huntington Library, Art Collections, and Botanical Gardens.

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How to paint animals with watercolours (19th century).

1) Two Dogs, Grey-hound and Otter-hound

2) Two Donkeys

3) Blood-hound

4) Two horses’ heads

5) Legs and Hoofs

5) Bull and Cow

6) The Bull

7) Cow and Calf

8)  Two heads, Ram and Sheep

9) Two Donkeys’ Heads

Watercolour paintings. Taken from ‘Animal Painting’ by Frederick Tayler (1802-1889). Published 1885 by Cassell & Co. Ltd.

(John ) Frederick Tayler was a 19th-century English landscape watercolour painter, and president of the Royal Watercolour Society. (Wikipedia)

Getty Research Institute.

archive.org

Whatever elements that may come to hand or that are selected from the profusion of materials within reach, are combined with words to create a simple poetic image. One should not look for plastic quality, virtuosity or merits usually associated with works of art. This should amuse, disturb, mystify or provoke reflection. These images above all should entertain–the only sure road to appreciation.
—  Man Ray, “No. 145. Objects of My Affection” (published 1970), Man Ray: Writings on Art, ed. Jenniifer Mundy (The Getty Research Institute, 2016)