- Gebundene Ausgabe: 345 Seiten
- Verlag: University of California Press; Auflage: illustrated edition (Februar 1997)
- Sprache: Englisch
- ISBN-10: 0520206088
- ISBN-13: 978-0520206083
- Größe und/oder Gewicht: 25,7 x 19 x 3,3 cm
- Durchschnittliche Kundenbewertung: 2.5 von 5 Sternen Alle Rezensionen anzeigen (2 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 1.561.640 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
From Library Journal
In this scholarly new book, Wagner (history of art, Univ. of California, Berkeley) skillfully probes and tracks how each of these important American modernists at one time coped with life as both a professional artist and wife of a more famous one. "O'Keeffe's Femininity" demonstrates how infamous she was at rendering body imagery: "to imagine an impossible union?the passionate coupling of hygiene and scatology, the body and its absence." Lee Krasner is shown painting her own way through Jackson Pollock's as well as Arshile Gorky's conventions until she eventually achieved autobiographical essays in paint and collage. Eva Hesse is optimistically identified as an innovative commentator on new sexuality, focusing on her body, but not her body alone. This gendered interpretation of three of the foremost American modernist women artists presents an interesting blend of biographical and historical criticism. Recommended for most academic collections.?Mary Hamel-Schwulst, Towson State Univ., Md.
Copyright 1997 Reed Business Information, Inc.
Copyright 1997 Reed Business Information, Inc.
Pressestimmen
"Her excellent description and analysis of individual works will help general readers to better appreciate abstract art."--Lisa Miller, "Bloomsbury Review
In diesem Buch
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Einleitungssatz
This is a book about three artists. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
This is a book about three artists. Lesen Sie die erste Seite
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Die hilfreichsten Kundenrezensionen
Format:Taschenbuch
Everyone who reviewed it seemed to love this overview of the careers of 3 artists: Krasner, Hesse. It's a fun read, with great photos, but I wish art historians would start to see there's more to the sixties than Hesse: what about Agnes Martin, Lee Bontecou, Yoko Ono, Alison Knowles, and all the rest??
Wagner wants to be a good feminist, but ultimately, her approach is surprisingly traditional: canonical figures, marriage plot, sticks to the US, the known and alrady successful. Wants to avoid being "radical" or disturbing at all costs.
Format:Taschenbuch
Wagner presents 3 kay artists but her analysis is thin -- after 200+ pages, we get to the conclusion that "altho gender doesn't entirely determine our lives, it does inflect them..." or something like that. Seems to be totally unaware of feminist work on modernism in other fields (ie lit, film) and never questions the whole "marriage" (heterosexuality) framework she sets up. As a trade press book, it'd be fine, but as a university press book -- seems thin, uninformed.
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6 Rezensionen
5 von 5 Kunden fanden die folgende Rezension hilfreich
Insightful, scholarly, and accessible
18. Dezember 2000
Format:Taschenbuch
One is reluctant to criticize the reviews of other customers, yet the two reviews prior to mine attempt to force upon Wagner's book both an historical framework and a point of view that are outside of her intended goal. If one reads the book for what it is, one finds a work of analytical insight, scholarship, humanity, and understanding of historical context. Enjoy it, savor it, reflect upon it!
1 von 1 Kunden fanden die folgende Rezension hilfreich
authoritative, engaging & personal
22. Februar 2008
Format:Taschenbuch
I greatly enjoyed Anne Wagner's work in Three Artists (Three Women). Not only did she write an exceptional Introduction for her work - something rare in my opinion - but she isn't afraid to tackle the idea that one of her subjects, Eva Hesse, might not have been such a commodity had she lived. Wagner doesn't insult the artist or offend the reader in her discourse about Hesse's semi-martyrdom. Instead she very matter-of-factly outlines reasons for considering that the sculptor might have been less novel. She is sharp but candid:
It is her (un)timely death that has meant that she has survived to play a special cultural role: forever under thirty-five, she answers a hunger for youthful tragic death. She is the `dead girl'...Much of the writing about the artist cannot resist taking advantage of the free mileage it gets from Hesse's early death. When it is harnessed to her troubled life, so called, an irresistible package results. (197)
Wagner's strong suit is her skill at assisting the reader to build an understanding of feminism, art and the history of women as artists. She draws on three rather conventional (in the academic sense) artists when one might prefer to see her focus on feminist artists who are a little more out of the ordinary - Shirin Neshat comes to mind. In all, however, the work is quite a valuable cornerstone for art study and her presentation of the subject of women as artists/artists as women and the discussion about the mutual exclusivity that has historically accompanied those two constructs is insightful.
It is her (un)timely death that has meant that she has survived to play a special cultural role: forever under thirty-five, she answers a hunger for youthful tragic death. She is the `dead girl'...Much of the writing about the artist cannot resist taking advantage of the free mileage it gets from Hesse's early death. When it is harnessed to her troubled life, so called, an irresistible package results. (197)
Wagner's strong suit is her skill at assisting the reader to build an understanding of feminism, art and the history of women as artists. She draws on three rather conventional (in the academic sense) artists when one might prefer to see her focus on feminist artists who are a little more out of the ordinary - Shirin Neshat comes to mind. In all, however, the work is quite a valuable cornerstone for art study and her presentation of the subject of women as artists/artists as women and the discussion about the mutual exclusivity that has historically accompanied those two constructs is insightful.
Excellent book
22. November 2009
Format:Taschenbuch
This closely argued study of three women artists is a delight to read: it is rigorously researched, beautifully written and insightful.
The introduction is a highly provocative intervention into feminist art history that stresses the need to consider aesthetic criteria rather than simply political credentials. Or more accurately, the author argues for their interdependence. Wagner compares Judy Chicago's The Dinner Party to a Lynda Benglis Eat Meat. She refers to Benglis's work as part of the modernist avant-garde tradition with its recalcitrant resistence to easy interpretation, and argues that this kind of work has more political potential than Chicago's work, which by comparison, is much more closed and didactic.
Each chapter examines a woman artist in relation to the avant-garde tradition. The Hesse chapter is a brilliant reworking of the methods of psychobiography. I would recommend the book for that chapter alone, her evaluations of Krasner and O'Keefe are, however, equally provocative and fascinating.
The introduction is a highly provocative intervention into feminist art history that stresses the need to consider aesthetic criteria rather than simply political credentials. Or more accurately, the author argues for their interdependence. Wagner compares Judy Chicago's The Dinner Party to a Lynda Benglis Eat Meat. She refers to Benglis's work as part of the modernist avant-garde tradition with its recalcitrant resistence to easy interpretation, and argues that this kind of work has more political potential than Chicago's work, which by comparison, is much more closed and didactic.
Each chapter examines a woman artist in relation to the avant-garde tradition. The Hesse chapter is a brilliant reworking of the methods of psychobiography. I would recommend the book for that chapter alone, her evaluations of Krasner and O'Keefe are, however, equally provocative and fascinating.
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