First edition catalog published in conjunction with the landmark exhibition held January 12-February 18, 1973 at the New York Cultural Center and organized by Women in the Arts. 4to (7.5” x 9”), printed wrappers, 127 pages, b/w illustrations throughout, errata slip laid in. Women Choose Women was among the earliest major institutional exhibitions in the United States devoted exclusively to contemporary women artists selected by women artists themselves. With an introduction by Mario Amaya and the essential essay “A Note on the Politics and Aesthetics of a Women’s Show” by Lucy R. Lippard, one of the foundational texts of early feminist art criticism.
Features work by a broad roster of emerging and established artists working across painting, sculpture, photography, fiber art, and conceptual practice. Included are Louise Bourgeois, Alice Neel, Faith Ringgold, Joan Snyder, Howardena Pindell, Nancy Graves, Audrey Flack, Joan Jonas, Harmony Hammond, Martha Rosler, May Stevens, Sylvia Sleigh, Miriam Schapiro, Jackie Winsor, Marisol, Elizabeth Murray, Howardena Pindell, Louise Fishman, Ana Mendieta, Suzanne Harris, Ree Morton, Alice Aycock, Pat Steir, Jackie Ferrara, Sari Dienes, Agnes Denes, Linda Benglis, and many others.
A genuinely important and increasingly elusive document of early feminist art history and institutional critique. Lippard’s contribution remains particularly resonant for its attempt to grapple with questions still debated today: whether a specifically “women’s art” existed, whether exclusion produced identifiable aesthetic tendencies, and how institutions themselves shaped artistic visibility.
Light rubbing and chipping to extremities, with some creasing to front wrapper, and small closed tears to spine ends.
First edition catalog published in conjunction with the landmark exhibition held January 12-February 18, 1973 at the New York Cultural Center and organized by Women in the Arts. 4to (7.5” x 9”), printed wrappers, 127 pages, b/w illustrations throughout, errata slip laid in. Women Choose Women was among the earliest major institutional exhibitions in the United States devoted exclusively to contemporary women artists selected by women artists themselves. With an introduction by Mario Amaya and the essential essay “A Note on the Politics and Aesthetics of a Women’s Show” by Lucy R. Lippard, one of the foundational texts of early feminist art criticism.
Features work by a broad roster of emerging and established artists working across painting, sculpture, photography, fiber art, and conceptual practice. Included are Louise Bourgeois, Alice Neel, Faith Ringgold, Joan Snyder, Howardena Pindell, Nancy Graves, Audrey Flack, Joan Jonas, Harmony Hammond, Martha Rosler, May Stevens, Sylvia Sleigh, Miriam Schapiro, Jackie Winsor, Marisol, Elizabeth Murray, Howardena Pindell, Louise Fishman, Ana Mendieta, Suzanne Harris, Ree Morton, Alice Aycock, Pat Steir, Jackie Ferrara, Sari Dienes, Agnes Denes, Linda Benglis, and many others.
A genuinely important and increasingly elusive document of early feminist art history and institutional critique. Lippard’s contribution remains particularly resonant for its attempt to grapple with questions still debated today: whether a specifically “women’s art” existed, whether exclusion produced identifiable aesthetic tendencies, and how institutions themselves shaped artistic visibility.
Light rubbing and chipping to extremities, with some creasing to front wrapper, and small closed tears to spine ends.
