This work is published to accompany an exhibition at MoMA QNS devoted to an under-acknowledged but crucial area of Kiki Smith's art, December 5th, 2003 - March 8th, 2004.

"Why Have There Been No Great Women Artists?" asked the prominent art historian Linda Nochlin in a provocative 1971 essay. Today her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent critics and curators describe the impact of women artists on contemporary art since the advent of the feminist movement.

Essay by Helaine Posner. Visual Essay by Kiki Smith. Introduction by Willis E. Hartshorn.

“Exacting, and at the same time utterly magical." —ADA LIMÓN With intelligence and crystalline clarity, a chorus of female voices speaks through the poems in Her book, Éireann Lorsung’s luminous second collection. Full of youth, wonder, and imagination, Her book crosses distances and generations to celebrate the lives of women, their individual and shared experiences, and the bonds that bring them together. This is also a book about translation (of experience into art, of knowledge across time and space), conversation (with, for instance, work by the artist Kiki Smith), and friendship (especially those made during Lorsung’s time in England). In these poems, the female body rises from a foundation of stars. Songbirds are cut from paper and stormy light. And letters arrive, and disappear, mysteries contained within. “Part ecstatic recollection of the many ways places and objects leave their indelible marks upon our bodies and brains, and part timeless ode to the strange female beast that pounds inside of us all” (Ada Limón), Her book is both an inspired work from Lorsung and, fundamentally, her book—poems belonging to all women.

Text in German and English.

Stay up all night with this modern day Rebecca! Perfect for fans of Truly Devious--a haunting story about a new girl in an old town filled with dark secrets . . . that might just kill her. People say the house is cursed. It preys on the weakest, and young women are its favorite victims. In Louth, they're called the Dead Girls. All Bram wanted was to disappear--from her old life, her family's past, and from the scandal that continues to haunt her. The only place left to go is Louth, the tiny town on the Hudson River where her uncle, James, has been renovating an old mansion. But James is haunted by his own ghosts. Months earlier, his beloved wife died in a fire that people say was set by her daughter. The tragedy left James a shell of the man Bram knew--and destroyed half the house he'd so lovingly restored. The manor is creepy, and so are the locals. The people of Louth don't want outsiders like Bram in their town, and with each passing day she's discovering that the rumors they spread are just as disturbing as the secrets they hide. Most frightening of all are the legends they tell about the Dead Girls. Girls whose lives were cut short in the very house Bram now calls home. The terrifying reality is that the Dead Girls may have never left the manor. And if Bram looks too hard into the town's haunted past, she might not either.

First published in Germany in 1929, The End and the Beginning is a lively personal memoir of a vanished world and of a rebellious, high-spirited young woman's struggle to achieve independence. Born in 1883 into a distinguished and wealthy aristocratic family of the old Austro-Hungarian Empire, Hermynia Zur Muhlen spent much of her childhood travelling in Europe and North Africa with her diplomat father. After five years on her German husband's estate in czarist Russia she broke with both her family and her husband and set out on a precarious career as a professional writer committed to socialism. Besides translating many leading contemporary authors, notably Upton Sinclair, into German, she herself published an impressive number of politically engaged novels, detective stories, short stories, and children's fairy tales. Because of her outspoken opposition to National Socialism, she had to flee her native Austria in 1938 and seek refuge in England, where she died, virtually penniless, in 1951. This revised and corrected translation of Zur Muhlen's memoir - with extensive notes and an essay on the author by Lionel Gossman - will appeal especially to readers interested in women's history, the Central European aristocratic world that came to an end with the First World War, and the culture and politics of the late nineteenth and early twentieth centuries.

Foreword and essay by Doug Ashford. Introduction by Anne Pasternak.