Womans Art Journal 30-2

FALL / WINTER 2009 VOLUME 30, NUMBER 2

On the Cover

Paula Modersohn-Becker, Self-Portrait, Age 30, 6th
Wedding Day

Paula Modersohn-Becker,
Self-Portrait, Age 30, 6th Wedding Day (2008), on cardboard, 40 1/16 x 27 5/8. Kunstsammlungen Böttcherstrasse/Paula Modersohn-Becker Museum, Bremen.


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PARALLEL PERSPECTIVES

By Joan Marter and Margaret Barlow

 


PORTRAITS, ISSUES AND INSIGHTS
PICTURES OF FLESH: MODERSOHN-BECKER AND THE NUDE

By Diane Radycki

MAKING BABIES, PAINTING BODIES: WOMEN, ART, AND PAULA MODERSOHN-BECKER’S PRODUCTIVITY

By Anne Higonnet

PAULA MODERSOHN-BECKER AND THE BODY IN ART

By Rainer Stamm

LEFT AND RIGHT: POLITICS AND IMAGES OF MOTHERHOOD IN WEIMAR GERMANY

By Michelle Vangen

HELEN SERGER’S GALERIE LA BOETIE: PAULA MODERSOHN-BECKER ON MADISON AVENUE

By Monica J. Strauss

REVIEWS

The Invisible Flâneuse? Gender, Public Space and Visual Culture in Nineteenth Century Paris

Edited by Aruna D’Souza and Tom McDonough;

Modern Women and Parisian Consumer Culture in Impressionist Painting

By Ruth E. Iskin;

Women in Impressionism: From Mythical Feminine to Modern Woman

Edited by Sidsel Maria Søndergaard

Reviewed by Kimberly Chrisman-Campbell

The Color of Stone: Sculpting the Black Female Subject in Nineteenth Century America

By Charmaine Nelson

Reviewed by Lisa E. Farrington

Professional Pursuits, Women and the American Arts and Crafts Movement

By Catherine W. Zipf

Reviewed by Pamela H. Simpson

Bessie Potter Vonnoh: Sculptor of Women

By Julie Aronson

Reviewed by Roberta K. Tarbell

Modernism and the Feminine Voice: O’Keeffe and the Women of the Stieglitz Circle

By Kathleen Pyne

Reviewed by Karen A. Bearor

Daring to Look: Dorothea Lange’s Photographs and Reports from the Field

By Anne Whiston Spirn

Reviewed by Mariea Caudill Dennison

Eileen Gray

By Caroline Constant

Reviewed by Ricki Sablove

Louise Bourgeois

Edited by Frances Morris and Marie-Laure Bernadac

Reviewed by Rachel Epp Buller

Helen Frankenthaler: Painting History, Writing Painting

By Alison Rowley

Reviewed by Ingrid Steffensen

Technologies of Intuition

Edited by Jennifer Fisher

Reviewed by Bojana Videkanic

Liliana Porter and the Art of Simulation

By Florencia Bazzano-Nelson

Reviewed By Nina Gara Bozicnik

Being Watched: Yvonne Rainer and the 1960s

By Carrie Lambert-Beatty

Reviewed by Karen Kurczynski



We continue to receive new submissions and encourage scholars to send their articles for consideration. WAJ guidelines for contributors and subscription information can be found on our website, womansartjournal@womansartjournal.org.


About Woman's Art Journal

Published semiannually—May and November—since 1980, Woman's Art Journal continues to represent the interests of women and art worldwide. Our articles and reviews cover all areas of women in the visual arts, from antiquity to the present day. Each issue presents current research on a variety of topics, featuring "portraits" of women artists, "issues and insights," and discerning reviews of recent books and exhibition catalogues. Each article is well researched and clearly written. Our authors are international scholars in their fields. A typical 60-page issue contains 20-25 color plates and 25-35 black-and-white illustrations.

WAJ is indexed on all major art indexes and bibliographies, and is used as a supplementary text in many university courses on women and art. The journal is found in university and major libraries worldwide and in selected museum bookshops, including the Metropolitan (New York), Philadelphia, and Nelson-Atkins (Kansas City), and the National Museum of Women in the Arts (Washington, D.C.). The full text is also available in the electronic versions of the Art Index and through JSTOR’s Arts & Sciences III Collection.

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