Edited with text by Andrea Karnes. Preface by Marla Price. Text by Emma Amos, Faith Ringgold, Lorna Simpson.
Replete with complexities, abjection, beauty and joy, Women Painting Women offers new ways to imagine the portrayal of women, from Alice Neel to Jordan Casteel
A thematic exploration of nearly 50 female artists who choose women as subject matter in their works, Women Painting Women includes nearly 50 portraits that span the 1960s to the present. International in scope, the book recognizes female perspectives that have been underrepresented in the history of postwar figuration. Painting is the focus, as traditionally it has been a privileged medium for portraiture, particularly for white male artists. The artists here use painting and women as subject matter and as vehicles for change. They range from early trailblazers such as Emma Amos and Alice Neel to emerging artists such as Jordan Casteel, Somaya Critchlow and Apolonia Sokol. All place women—their bodies, gestures and individuality—at the forefront. The pivotal narrative in Women Painting Women is how the artists included use the conventional portrait of a woman as a catalyst to tell another story outside of male interpretations of the female body. They conceive new ways to activate and elaborate on the portrayal of women by exploring themes of the Body, Nature Personified, Selfhood and Color as Portrait. Replete with complexities, realness, abjection, beauty, complications, everydayness and joy, the portraits in this volume make way for women artists to share the stage with their male counterparts in defining the image of woman and how it has evolved. Artists include: Rita Ackermann, Njideka Akunyili Crosby, Emma Amos, María Berrío, Louise Bonnet, Lisa Brice, Joan Brown, Jordan Casteel, Somaya Critchlow, Kim Dingle, Marlene Dumas, Celeste Dupuy-Spencer, Nicole Eisenman, Tracey Emin, Natalie Frank, Hope Gangloff, Eunice Golden, Jenna Gribbon, Alex Heilbron, Ania Hobson, Luchita Hurtado, Chantal Joffe, Hayv Kahraman, Maria Lassnig, Christiane Lyons, Danielle Mckinney, Marilyn Minter, Alice Neel, Elizabeth Peyton, Paula Rego, Faith Ringgold, Deborah Roberts, Susan Rothenberg, Jenny Saville, Dana Schutz, Joan Semmel, Amy Sherald, Lorna Simpson, Arpita Singh, Sylvia Sleigh, Apolonia Sokol, May Stevens, Claire Tabouret, Mickalene Thomas, Nicola Tyson and Lisa Yuskavage.
Emma Amos, "Three Figures," (1966) is reproduced from 'Women Painting Women.'
PRAISE AND REVIEWS
NPR
Susan Stemberg
So, how do women paint women? It's less about seeing them differently from men, than showing them different. For centuries, artists' male gaze saw women as objects of desire, idealized and voluptuous, with luscious white skin and dimpled knees. Women artists in this exhibition, like Alice Neel and Emma Amos and others, show women as differently beautiful: pregnant, overweight, sometimes despondent. As we are, wrapped in our truths.
Forbes
Chad Scott
A tour de force of portraiture from women over the past half century, “women’s work” their male contemporaries could only dream of matching.
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Voilà the SFMOMA Museum Store—our Museum Store of the Month! It gives us real book joy to see so many of our favorite titles—and so many great books in general—at this world-renowned institution. And how can we not love the Store's philosophy: simply put, that art has the power to open minds. Behold their deep book list and thoughtfully selected design objects, chosen to rhyme with the museum's superb collection and roster of exhibitions. continue to blog
María Berrío's "Wildflowers" (2017) is reproduced from Mother’s Day staff pick Women Painting Women, published by DelMonico Books and Modern Art Museum of Fort Worth. According to editor and chief curator Andrea Karnes, the artwork is an “allegory for humanity’s integration with, not domination over, nature, and also presents the idea of glorifying women during crises of migration, deportation and transition. … Berrio’s Colombian heritage comes into play, especially in terms of folklore and myth, as the women in her work are often portrayed as priestesses. … Berrio’s work proposes equivalency between species—yet the women convey a goddess-like power.” continue to blog
Jordan Casteel’s Pretty in Pink (2019) is reproduced from Women’s History Month Staff Pick,Women Painting Women, published by DelMonico Books and Modern Art Museum of Fort Worth. This image “moves into the public sphere but retains a sense of the private,” curator Andrea Karnes writes. “It depicts a contemporary young Black woman on the New York City subway looking at her phone—beautiful and bedazzled, she is pictured with a pink outfit, eyeshadow, lipstick, embellished phone case and backpack. Although she is on an urban mass transit system normally associated with crowds, her isolation and close view suggest a metaphor for the modern condition, in which we are all zoomed into our phones, and social interaction is increasingly limited due to the Internet, social media, and the pandemic. Casteel is known for painting the everyday from her community and has discussed the idea of representing the unseen. Through her focus on shared interactions and conversations, she embraces the nuances of lived experience. ‘With access comes responsibility,’ Casteel has said to describe her visibility as an artist and why it is important for her to treat each subject with reverence and care.” continue to blog
Featured spreads (with work by María Berrío, Ania Hobson and Dana Schutz) are from Holiday Gift Staff PickWomen Painting Women—a book that needs no explanation! NPR's Susan Stanberg writes, "So, how do women paint women? It's less about seeing them differently from men, than showing them different. For centuries, artists' male gaze saw women as objects of desire, idealized and voluptuous, with luscious white skin and dimpled knees. Women artists in this exhibition, like Alice Neel and Emma Amos and others, show women as differently beautiful: pregnant, overweight, sometimes despondent. As we are, wrapped in our truths." And Forbes' Chad Scott concurs: "A tour de force of portraiture from women over the past half century, “women’s work” their male contemporaries could only dream of matching." continue to blog
Painted in 1965, Faith Ringgold’s “Early Works #25: Self-Portrait” is reproduced from new release Women Painting Women, published to accompany the exhibition currently on view at Modern Art Museum of Fort Worth. Featuring work by rising and established artists from the 1960s through the present—including Somaya Critchlow, Nicole Eisenman, Luchita Hurtado, Alice Neel and Amy Sherald, among many others—this volume features 65 color reproductions and texts by Andrea Karnes, Marla Price, Emma Amos, Lorna Simpson and Ringgold, whose writing on the 1970s women artists’ movement in New York is excerpted. “Artists and other folk, both male and female, were beginning to demand explanations of the women’s art movement. ‘Is there a women’s art, and if so, what is it?’ was the constant question posed to us. The concept of making female images as opposed to male, and black images as opposed to white or abstract, was the crux of the issue. ‘Who needs all this talk about black art and women’s art?’ some artists would say. ‘I’m just an artist who happens to be black or a woman.’ It was a real challenge to try to define oneself and one’s art outside the narrow parameters of the mainstream art world. But we were doing this and it felt good.” continue to blog
María Berrío's "Wildflowers" (2017) is reproduced from Mother’s Day staff pick Women Painting Women, published by DelMonico Books and Modern Art Museum of Fort Worth. According to editor and chief curator Andrea Karnes, the artwork is an “allegory for humanity’s integration with, not domination over, nature, and also presents the idea of glorifying women during crises of migration, deportation and transition. … Berrio’s Colombian heritage comes into play, especially in terms of folklore and myth, as the women in her work are often portrayed as priestesses. … Berrio’s work proposes equivalency between species—yet the women convey a goddess-like power.” continue to blog
Jordan Casteel’s Pretty in Pink (2019) is reproduced from Women’s History Month Staff Pick,Women Painting Women, published by DelMonico Books and Modern Art Museum of Fort Worth. This image “moves into the public sphere but retains a sense of the private,” curator Andrea Karnes writes. “It depicts a contemporary young Black woman on the New York City subway looking at her phone—beautiful and bedazzled, she is pictured with a pink outfit, eyeshadow, lipstick, embellished phone case and backpack. Although she is on an urban mass transit system normally associated with crowds, her isolation and close view suggest a metaphor for the modern condition, in which we are all zoomed into our phones, and social interaction is increasingly limited due to the Internet, social media, and the pandemic. Casteel is known for painting the everyday from her community and has discussed the idea of representing the unseen. Through her focus on shared interactions and conversations, she embraces the nuances of lived experience. ‘With access comes responsibility,’ Casteel has said to describe her visibility as an artist and why it is important for her to treat each subject with reverence and care.” continue to blog
FORMAT: Hbk, 8 x 10.5 in. / 172 pgs / 65 color. LIST PRICE: U.S. $49.95 LIST PRICE: CANADA $67.95 GBP £39.99 ISBN: 9781636810355 PUBLISHER: DelMonico Books/Modern Art Museum of Fort Worth AVAILABLE: 5/31/2022 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by DelMonico Books/Modern Art Museum of Fort Worth. Edited with text by Andrea Karnes. Preface by Marla Price. Text by Emma Amos, Faith Ringgold, Lorna Simpson.
Replete with complexities, abjection, beauty and joy, Women Painting Women offers new ways to imagine the portrayal of women, from Alice Neel to Jordan Casteel
A thematic exploration of nearly 50 female artists who choose women as subject matter in their works, Women Painting Women includes nearly 50 portraits that span the 1960s to the present. International in scope, the book recognizes female perspectives that have been underrepresented in the history of postwar figuration. Painting is the focus, as traditionally it has been a privileged medium for portraiture, particularly for white male artists. The artists here use painting and women as subject matter and as vehicles for change. They range from early trailblazers such as Emma Amos and Alice Neel to emerging artists such as Jordan Casteel, Somaya Critchlow and Apolonia Sokol. All place women—their bodies, gestures and individuality—at the forefront.
The pivotal narrative in Women Painting Women is how the artists included use the conventional portrait of a woman as a catalyst to tell another story outside of male interpretations of the female body. They conceive new ways to activate and elaborate on the portrayal of women by exploring themes of the Body, Nature Personified, Selfhood and Color as Portrait. Replete with complexities, realness, abjection, beauty, complications, everydayness and joy, the portraits in this volume make way for women artists to share the stage with their male counterparts in defining the image of woman and how it has evolved.
Artists include: Rita Ackermann, Njideka Akunyili Crosby, Emma Amos, María Berrío, Louise Bonnet, Lisa Brice, Joan Brown, Jordan Casteel, Somaya Critchlow, Kim Dingle, Marlene Dumas, Celeste Dupuy-Spencer, Nicole Eisenman, Tracey Emin, Natalie Frank, Hope Gangloff, Eunice Golden, Jenna Gribbon, Alex Heilbron, Ania Hobson, Luchita Hurtado, Chantal Joffe, Hayv Kahraman, Maria Lassnig, Christiane Lyons, Danielle Mckinney, Marilyn Minter, Alice Neel, Elizabeth Peyton, Paula Rego, Faith Ringgold, Deborah Roberts, Susan Rothenberg, Jenny Saville, Dana Schutz, Joan Semmel, Amy Sherald, Lorna Simpson, Arpita Singh, Sylvia Sleigh, Apolonia Sokol, May Stevens, Claire Tabouret, Mickalene Thomas, Nicola Tyson and Lisa Yuskavage.
