Singular Women: Writing the Artist

Singular Women: Writing the Artist

Singular Women: Writing the Artist

Singular Women: Writing the Artist


"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


Following the publication of her Art in America article, Mary D. Garrard discussed with Kristen Frederickson and Sarah E. Webb the critical and popular reception of the film Artemisia in conjunction with cinematic authority.

Frederickson/Webb: How do you feel your book of 1989 stands up as an authoritative source, now that the film of 1998 has been made? Are you concerned that one will be read as a greater authority? Do you think there is any useful overlap between the audiences for the two types of treatment, or are the people with a film-based view of Artemisia not at all those who might have read your book?

Garrard: First, I doubt that Merlet's film will ever be regarded as an authoritative source on Artemisia Gentileschi. All over the country, the film closed after a short run, and not just because it was controversial. It simply didn't grab the public's attention. At the time the movie came out, there was a considerable overlap between its audience and readers of my book. Artemisia is widely familiar to a lot of people—students, academics, art fans, and women artists especially—and this large, already educated or informed group was probably the film's primary audience. Now, however, the film lives on in video stores, with an appeal mainly to uninformed viewers

© Mary D. Garrard . . .

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