A Documentary HerStory of Women Artists in Revolution
Text by Lucy Lippard, Agnes C. Denes, Emily Genaeur, Silvia Goldsmith, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, et al.
A rare, ever-relevant compendium of texts and manifestos from women artists on gender and race issues in cultural institutions
Originally published in 1971, A Documentary HerStory of Women Artists in Revolution documents the efforts of W.A.R., a loose group of women artists, filmmakers, writers and cultural workers organized around advancing the place of women in the art world. Members of W.A.R. included Juliette Gordon, Sara Saporta, Therese Schwartz, Muriel Castanis, Cindy Nemser, Dolores Holmes, Betsy Jones, Silvia Goldsmith, Jan McDevitt, Lucy Lippard, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, Emily Genauer, Agnes Denes, Doloris O'Kane and Jacqueline Skiles.
Active from 1969 to 1971, W.A.R. was founded as the women’s caucus of the Art Workers’ Coalition (AWC). AWC mobilized around anti-war protest and anti-racist action, also campaigning for artists’ rights and wages, the decentralization of museums across NYC boroughs, more diverse exhibition programming and the restructuring of management within cultural institutions.
This facsimile publication of A Documentary HerStory of Women Artists in Revolution gathers manifestos, statements and declarations by W.A.R. members; articles and reports about gendered and racialized discrimination in the arts; pro-abortion flyers and protest ephemera; and grant applications and reports detailing the founding of the Women’s Interart Center in spring 1970, W.A.R.’s brick-and-mortar studio, workshop and exhibition space. It also reproduces documentation of key actions including the 1970 Art Strike Against Racism, Sexism, Repression and War, and correspondence with officials at the Whitney Museum, the Guggenheim Foundation and the Museum of Modern Art, among others.
This publication takes as its source the second edition of the publication, which was published in 1973. The edition was chosen because it features a preface and addendum with retrospective reflections on the history and activities of W.A.R.
Featured spread is from ‘A Documentary HerStory of Women Artists in Revolution'
PRAISE AND REVIEWS
Hyperallergic
Kate Silzer
A Documentary HerStory of Women Artists in Revolution is an archive much more than it is a book in any traditional sense. The documents, including correspondences, public statements, news clippings, flyers, reports, lists of demands, and provocative posters, are smartly compiled into a dense and focused study of W.A.R. and associated organizations’ varied efforts to advance women’s place in the art world.
Bookforum
Lauren O'Neill-Butler
A Documentary HerStory of Women Artists in Revolution, the eighty-eight-page primer is very much a product of its era—typewritten text, grainy images, xeroxed black-and-white ephemera—but it also holds up a mirror to our present.
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As we continue to celebrate the inauguration of Kamala Harris, the first woman Vice President of the United States, we are delighted to feature these spreads from Primary Information's new facsimile edition of A Documentary HerStory of Women Artists in Revolution, the 1971 compendium of texts and manifestos from women artists on gender and race issues in cultural institutions. "I firmly believe the 70's is the decade of the woman," Muriel Castanis said in a 1973 speech published here in the form of preface to the revised edition. "The women's art movement is revolutionary because it affects every level of the art culture. You especially know the valuable contribution art makes to society's health, and for that health we need the contribution of women for they can reach worlds that men never knew existed, self-imprisoned as they have been in their protective fortress. What W.A.R. began is in your hands now. Now, you are W.A.R.
I heard a marvelous quote for this new year. 'Nothing we have ever done before will ever be good enough again."
We couldn’t agree more.
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FORMAT: Pbk, 8.5 x 10.75 in. / 80 pgs / 10 duotone. LIST PRICE: U.S. $20.00 LIST PRICE: CANADA $28 ISBN: 9781734489767 PUBLISHER: Primary Information AVAILABLE: 1/19/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ASIA
A Documentary HerStory of Women Artists in Revolution
A rare, ever-relevant compendium of texts and manifestos from women artists on gender and race issues in cultural institutions
Published by Primary Information. Text by Lucy Lippard, Agnes C. Denes, Emily Genaeur, Silvia Goldsmith, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, et al.
Originally published in 1971, A Documentary HerStory of Women Artists in Revolution documents the efforts of W.A.R., a loose group of women artists, filmmakers, writers and cultural workers organized around advancing the place of women in the art world. Members of W.A.R. included Juliette Gordon, Sara Saporta, Therese Schwartz, Muriel Castanis, Cindy Nemser, Dolores Holmes, Betsy Jones, Silvia Goldsmith, Jan McDevitt, Lucy Lippard, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, Emily Genauer, Agnes Denes, Doloris O'Kane and Jacqueline Skiles.
Active from 1969 to 1971, W.A.R. was founded as the women’s caucus of the Art Workers’ Coalition (AWC). AWC mobilized around anti-war protest and anti-racist action, also campaigning for artists’ rights and wages, the decentralization of museums across NYC boroughs, more diverse exhibition programming and the restructuring of management within cultural institutions.
This facsimile publication of A Documentary HerStory of Women Artists in Revolution gathers manifestos, statements and declarations by W.A.R. members; articles and reports about gendered and racialized discrimination in the arts; pro-abortion flyers and protest ephemera; and grant applications and reports detailing the founding of the Women’s Interart Center in spring 1970, W.A.R.’s brick-and-mortar studio, workshop and exhibition space. It also reproduces documentation of key actions including the 1970 Art Strike Against Racism, Sexism, Repression and War, and correspondence with officials at the Whitney Museum, the Guggenheim Foundation and the Museum of Modern Art, among others.
This publication takes as its source the second edition of the publication, which was published in 1973. The edition was chosen because it features a preface and addendum with retrospective reflections on the history and activities of W.A.R.
