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Critical essays on 20th-century female artists of color focus on how these distinguised artists achieved success, what makes their work important--both to the art world and to their specific communities--and what influences their work is likely to have in the future. The artists are representative ...

Critical essays on 20th-century female artists of color focus on how these distinguised artists achieved success, what makes their work important--both to the art world and to their specific communities--and what influences their work is likely to have in the future. The artists are representative of four ethnic groups: African American, Asian Pacific American, Latin American, and Native American. Parallels drawn explore the similarities and differences among the artists. The early feminist art movement of the 1970s concentrated on gender with less consideration given to race or class, yet to many artists of color, ethnicity factors significantly into the shaping of their identities and to the content of their art. Women artists of color have expanded the scope of protest art, fusing the past and current history with gender and race and deconstructing stereotypical mainstream representations of their gender and ethnic identities. This presentation of artists balances older and deceased artists with the younger, emerging artists. The artistic mediums span the gamut from traditional painting and sculpture to newer forms such as video, conceptual, and performance art.

To commemorate the opening of their new museum, Spelman College presents an unprecedented exhibition of the work of contemporary African American women artists. Twenty-five of the most outstanding African American women artists have contributed their work to the exhibition "Bearing Witness," ...

To commemorate the opening of their new museum, Spelman College presents an unprecedented exhibition of the work of contemporary African American women artists. Twenty-five of the most outstanding African American women artists have contributed their work to the exhibition "Bearing Witness," celebrating the opening of the Spelman College Museum of Fine Art and the 115th anniversary of the college. Works in all mediums are included here-- paintings, sculptures, fiber art, mixed mediums, and prints-- created by some of today's most exceptional artists, among them Lorna Simpson, Faith Ringgold, Carrie Mae Weems, and Betye Saar. Because of its history as the first institution of higher learning for black women, Spelman has become a Mecca, a true wellspring of strength and sustenance for African American women. It is only fitting that these artists gather to honor Spelman College, which has long nurtured the creative and educational vision of black women. The arts have always held a central place at Spelman. The college has an impressive fine arts tradition that began with the assemblage of one of the first college-held collections of works by black artists. The tradition continues with the opening of the college's new Museum of Fine Art, the centerpiece of the new Camille Olivia Hanks Cosby Academic Center. The museum's 4,500 square feet of exhibition space is designed to house the college's internationally recognized collection of paintings, prints, and photographs, as well as an impressive grouping of African sculptures and textiles. The museum also includes a conservatory, one of the few in the country devoted to preserving African American artworks. With the founding of the Spelman College Museum of Fine Art, the college has made certain that the arts will continue to play an integral part in the education of African American women well into the next century.

"An interesting and original collection. A must for all those interested in women artists and the women who have written about them."--Linda Nochlin, author of "Representing Women

"Kristen Frederickson and Sarah Webb have provided us with a missing link, a truly feminist art history that connects ...

"An interesting and original collection. A must for all those interested in women artists and the women who have written about them."--Linda Nochlin, author of "Representing Women

"Kristen Frederickson and Sarah Webb have provided us with a missing link, a truly feminist art history that connects with the work done in the 1970s and thankfully ignores the 'post-feminist' hiatus. "Singular Women is a model for future scholarship on women's art. If only the books it inspires are as rigorous, vigorous, varied, and readable as this one."--Lucy Lippard, author of "The Pink Glass Swan: Selected Feminist Essays on Art

"The most provocative, challenging, and intimate writing to appear in feminist art history since Linda Nochlin launched the field with her essay 'Why Are There No Great Women Artists?' Thirty years later there are both great women artists and great women writers. This book assembles some of the best and boldest among them. Not afraid to address the boring, the failed, the neglected, or the masterpiece, "Singular Women sets the standard for feminist art history of the twenty-first century."--Peggy Phelan, author of the survey essay in" Art and Feminism, ed. Helena Reckitt

"This important volume addresses the vexed question whether the traditional monograph, rightly under suspicion in recent years, can be reinvented to serve feminist art history well. Its excellent--and varied--essays answer with a confident and convincing affirmative, demonstrating how we can talk about women's art practice without abandoning the biographical and social stories that enable and illuminate it."--Janet Wolff, author of "Resident Alien: Feminist Cultural Criticism

"Contributes newunderstandings to the now familiar problems of writing biographies of artists and, in particular, writing about a woman artist. It re-inscribes the woman artist in the discourse while probing--through a variety of approaches--the possibi