The catalogue accompanying the most comprehensive exhibition of postwar abstract sculpture by women artists. Revolution in the Making traces the ways in which women artists deftly transformed the language of sculpture. The volume seeks to identify the multiple strains of proto-feminist practices, characterized by abstraction and repetition, which rejected the singularity of the masterwork. Divided into four sections, the book will feature approximately thirty artists and nearly 100 works in total: the postwar era including such historically important predecessors as Ruth Asawa, Lee Bontecou, Louise Bourgeois, Claire Falkenstein, and Louise Nevelson; the 1960s and 1970s, highlighting a generation of post-minimalist artists who ignited a revolution in their use of process-oriented materials and methods; the 1980s and 1990s, the period that moved beyond singular, three-dimensional objects toward architectonic works characterized by repetition, structure, and design; and post-2000 works by artists who created installation-based environments, embracing domestic materials and craft as an embedded discourse.
Pages
224
Format
Hardcover
Publisher
Skira
Release
September 06, 2016
ISBN
8857230651
ISBN 13
9788857230658
Revolution in the Making: Abstract Sculpture by Women 1947-2016
The catalogue accompanying the most comprehensive exhibition of postwar abstract sculpture by women artists. Revolution in the Making traces the ways in which women artists deftly transformed the language of sculpture. The volume seeks to identify the multiple strains of proto-feminist practices, characterized by abstraction and repetition, which rejected the singularity of the masterwork. Divided into four sections, the book will feature approximately thirty artists and nearly 100 works in total: the postwar era including such historically important predecessors as Ruth Asawa, Lee Bontecou, Louise Bourgeois, Claire Falkenstein, and Louise Nevelson; the 1960s and 1970s, highlighting a generation of post-minimalist artists who ignited a revolution in their use of process-oriented materials and methods; the 1980s and 1990s, the period that moved beyond singular, three-dimensional objects toward architectonic works characterized by repetition, structure, and design; and post-2000 works by artists who created installation-based environments, embracing domestic materials and craft as an embedded discourse.