Women of the Avant-Garde 1920-1940 presents eight female artists who made major contributions to Dada, Surrealism, Constructivism and other European avant-gardes of the modernist era: Claude Cahun, Sonia Delaunay, Germaine Dulac, Florence Henri, Hannah Höch, Katarzyna Kobro, Dora Maar and Sophie Taeuber-Arp. The artists are constellated in relation to one another across five themed sections that illuminate the nature of their respective innovations: "Composing Color," "Constructing Space," "Different Rules," "New Identities" and "Another Reality."

A re-presentation of women artists whose works were widely exhibited and regularly featured in the French art press and in modern art surveys from 1900 to the 1920s, but who largely disappeared from public view after World War II. The analysis of their work unravels the cultural, aesthetic, and economic reasons for their absence, particularly the issue of "feminine" and "masculine" categories in art. The artists featured include: Emilie Charmy, Jacqueline Marval, Maria Blanchard, Alice Halicka, Marevna, Alice Bailly, Marie Vassiliev, Suzanne Roger, and Mela Muter. The text includes fine color reproductions, bibliographic appendices, and an excerpt from Marevna's writings. Distributed by St. Martin's Press. Annotation copyright by Book News, Inc., Portland, OR

(Applause Books). This anthology gathers together recent work by the finest and most controversial contemporary American women dramatists. Collectively, this magnificent seven seeks to break the mold of the well-wrought psychological play and its rigid emphasis on realisticsocio-political drama. Includes: Occupational Hazard (Rosalyn Drexler) * Us (Karen Malpede) * What of the Night? (Maria Irene Forne) * Birth and After Birth (Tina Howe) * and more.

In detailing the relationship of three women filmmakers' lives and films to the changing institutions of the post-World War II era, Lauren Rabinovitz has created the first feminist social history of the North American avant-garde cinema. At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics. Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women's labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde's importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.

Now available again in an expanded edition and featuring a variety of work from artists both well-known and under the radar, this volume explores the pioneering achievements of the Feminist Avant-Garde. For art history, the 1970s represent the beginning of women subverting culturally and socially established constructions and traditional norms. Second-wave feminism, with its slogan "The personal is political", challenged the one-dimensional roles assigned to women--mother, housewife, and spouse. During this period, women artists radically questioned their duties and created a plurality of self-determined representations of themselves. Rejecting traditional male-dominated techniques, such as painting, these artists made use of new media, such as photography, film, video, and performance. The outcome was artwork which was radical, poetic, ironic, bitter, cynical, and heartfelt. This book features more than seventy international female artists, including works by Martha Rosler, Mary Beth Edelson, Ana Mendieta, Nil Yalter, and Ulrike Rosenbach. Editor Gabriele Schor used the term Feminist Avant-Garde in order to emphasize the role that these artists played in the last four decades. This new edition has been enriched with twenty-five new artists--Emma Amos, Dara Birnbaum, Rose English, Natalia LL, among others--as well as up-to-date research on feminist exhibitions, catalogues, and periodicals. Each artist is introduced by an essay and the book also includes fascinating texts by leading scholars.

This interdisciplinary study fuses analysis of feminist literature and manifestos, radical political theory, critical vanguard studies, women’s performance art, and popular culture to argue for the animal liberation movement as successor to the liberationist visions of the early twentieth-century avant-gardes, most especially the Surrealists. These vanguard groups are judiciously critiqued for their refusal to confront their own misogyny, a quandary that continues to plague animal activists, thereby disallowing for cohesion and full recognition of women’s value within a culturally marginalized cause. This volume is of interest to anyone who is concerned about the continued—indeed, escalating—violence against nonhumans. More broadly, it will interest those seeking new pathways to challenge the dominant power constructions through which oppression of humans, nonhumans, and the environment thrives. Women, Destruction, and the Avant-Garde ultimately poses the animal liberation movement as having serious political and cultural implications for radical social change, destruction of hierarchy and for a world without shackles and cages, much as the Surrealists envisioned.

The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 brings the series of cultural histories of the avant-garde in the Nordic countries up to the present. It discusses revisions and continuations of historical practices since 1975.

The Feminist Avant-Garde in American Poetry offers a historical and theoretical account of avant-garde women poets in America from the 1910s through the 1990s and asserts an alternative tradition to the predominantly male-dominated avant-garde movements. Elisabeth Frost argues that this alternative lineage distinguishes itself by its feminism and its ambivalence toward existing avant-garde projects; she also thoroughly explores feminist avant-garde poets' debts and contributions to their male counterparts.

This book examines how China’s new generation of avant-garde writers and artists are pushing the boundaries of vernacular culture, creatively appropriating artistic and literary languages from global cultures to reflect on reform-era China’s transformation and the Maoist heritage. It explores the vortex of cultural change from the launch of Deng Xiaoping’s reforms in 1978 to Xi Jinping establishing his leadership for life in 2018. The book argues that China’s new avant-garde adopt transcultural forms of expression while challenging the official discourse of Xi Jinping’s regime, which promotes cultural nationalism and demands that cultural production in China embodies the essence of the "Chinese nation". The topics range from body art, women’s poetry and boys’ love literature to Tibetan fiction and ceramic art. The book shows how the avant-garde use the new digital media to bypass government censorship, transcending China’s virtual frontiers while breaking new ground for an emerging public sphere. Overall, the book provides a rich picture of the nature of China’s avant-garde art and literature and the challenges it poses for the Chinese government. The introduction and chapter 10 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films. This panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true centre of avant-garde cinema in the US.