WKDL is an open access portal of information by and about women and girls. The goal of the project is to provide users with trusted information that is easily and efficiently accessible and that which can be used in the education and empowerment of women and girls worldwide.
Call Number: Main Library General Collection - 3rd Floor -- N6502.5P84
Publication Date: 1996-06-21
This volume is a unique contribution to Latin American studies because it underscores the essential role that women have played in the arenas of modern and contemporary art. [This book] provides valuable and much-needed assistance to the researcher. (From the foreword by Elizabeth Ferrer) With more than 1,500 references on nearly 800 women Latin American Women Artists, Kahlo and Look Who Else pays tribute to the rich and multifaceted artistic accomplishments of women in and from 20th-century Latin America. Frida Kahlo has until recently dominated the interest of scholars, curators, and the public to the point of almost eclipsing the achievements of other artists from the region. This selectively annotated bibliography begins systematically to identify other women -- painters, sculptors, printmakers, photographers, performance artists, and others -- who have made significant contributions to the history of art in the region. The first section, the main part of the work, consists of individual artists grouped in an alphabetical country arrangement. Artists in each country are listed A-Z, as are the citations about them. Annotations are descriptive and highlight, among other details, the presence of biographical and professional development information in the analyzed materials. A section of general works arranged by country follows, consisting principally of periodical and monographic literature that deals with numerous women, and a listing of the women mentioned in the cited materials. The volume has two appendices. The first is an analyzed list of 77 collective exhibitions in which works by these women have been presented. The second appendix groups the artists by country, allowing for an in-brief look at all of the artists identified in the bibliography. The name index references artists to the main section by country code and also includes entries for authors, curators, and exhibition catalogue essayists.
Call Number: Main Library General Collection - 3rd Floor -- N8354.B32
Publication Date: 1995-01-01
Expanded to include an additional 29 artists, among them the 17th-century painter Josefa de Ayala; the 18th-century portraitist Catherine Read; the 19th-century sculptor Marcello; and the innovative American printmaker Caroline Durieux, the second edition of Women Artists is evidence of the growing interest in the lives and careers of women artists. Additional annotated entries are included for the painters, printmakers, photographers, sculptors, and craftswomen represented in the earlier volume. Because of the amount of information now available on women architects, they are not included in the second edition. The main section of the book consists of 185 individual artist bibliographies, arranged by century from the early middle ages throughout the 20th century, with a cutoff birth date of 1930. A short biographical sketch introduces each artist; most of the bibliographies close with a list of public collections in which examples of the artist's work can be found. Piland treats the general subject of women artists in a bibliography that includes surveys, biographical dictionaries, catalogs, bibliographies, microfilm collections, slide sets, and dissertations. The final section is a selected bibliography on needlework, the traditional art of women. With 43 black-and-white reproductions. From reviews of the first edition, by Donna G. Bachmann & Sherry Piland (1978) "...immensely helpful...the first full-length bibliography in English that treats only women artists...providential..." --CHOICE "...recommended..." --LIBRARY JOURNAL
Call Number: Main Library Reference - 2nd Floor -- N8354.A47
Publication Date: 1991-08-01
Many women artists throughout history have generated a brilliant heritage that has been suppressed and left inaccessible for scholarly or public appreciation and study. This book provides a remedy by making available literary references to women artists' lives and social milieu and, more importantly, citing illustrations of their work for serious study.Most of the references are drawn from unindexed sources in books, periodicals, exhibition catalogs and newspapers, accompanied by an illustration guide that directs the reader to specific pictures for further study. Subjects include architects, painters and sculptors since the Renaissance, photographers, recent artists in performance, video and computer fields, and related areas of feminist aesthetics. References are annotated if they represent a major (or only) work of the artist in question.
Call Number: Main Library General Collection - 3rd Floor -- N72.F45D54
Publication Date: 2000-12-01
This is an interdisciplinary and international collection on aesthetics with contributions from artists and philosophers and the range of thinkers about art in between. It aims to provide a forum for the kinds of question that used to be addressed within traditional aesthetics, but which have until recently been sidelined in critical writing about art and indeed in many of the most important art practices. The collection as a whole is situated in relation to feminists' approaches, but the editors hope that it will not be read as limited to them.
Call Number: Main Library General Collection - 3rd Floor -- N72.F45F445
Publication Date: 1991-11-13
From the Preface:"The essays in Feminist Art Criticism are theoretical, and we selected them for several reasons. First, they show a diversity of concerns. These include spirituality, sexuality, the representation of women in art, the necessary inter-relationship of theory and action, women as artmakers, ethnicity, language itself, so-called postfeminism and critiques of hte art world, the discipline of art history and the practice of art criticism. Second, the contributors' work has not been either widely disseminated or readily available. Third, the essays, especially arranged as they are (chronologically), demonstrate a continuous feminist discourse in art from the early 1970s through the present, a discourse that is neither monolithic nor intellectually trendy but that rather exhibits many elements, the polemical, Marxist, lyrical, and poststructuralist being only a few."