Women in International and Universal Exhibitions, 1876–1937 (original) (raw)
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Exhibiting outside the Academy, Salon and Biennial, 1775-1999: Alternative Venues for Display
In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so—for example J.L. David's exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874—despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.
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This essay elaborates on women-only shows organized in post-war Europe by the associations of (women) artists that – as initial research has shown – were major initiators of this type of exhibitions during the period. It proposes a comparative analysis of operations of this type of association in three countries whose situations during and after the war differed considerably: Austria, France and Poland. The geopolitical positions of these countries and the gender politics they implemented influenced the operation of (women) artists’ associations and the organization of their annual exhibitions, but also the place they occupy in the art historical narratives. Agata Jakubowska* Adam Mickiewicz University * Agata Jakubowska is Associated Professor and Deputy Director at the Department of Art History, Adam Mickiewicz University in Poznań. She is the author of On Margins of the Mirror. Female Body in the Polish Women Artists’ Works (in Polish, Poznań 2004), Multiple Portrait of the Alina...
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Art Basel in the 1970s: the Role of the Female Gallerists Rewriting a History
Piano B. Arti e Culture Visive, 2023
This research aims to highlight the fundamental role of women gallerists within the Art Basel fair, from 1970 to 1979. It is a crucial historical period for the birth of contemporary art fairs and the art system as we know it today. The essay unfolds through two macro-sections: the first aims to create a historical framework and concerns a review of the literature that dealt with women within the art world in the 1970s by addressing authors such as Nocklin, Mainardi, Pollock and Lea Vergine, while rediscovering rarely known articles such as "We are Feminists", a dialog conducted by Gerhild Grolitsch with Gislind Nabakowsk in 1976. Then, it shifts to the research of the last years about these topics in the Art Market Studies, showing how most of the articles are about statistical analyses on women artists and that they have been carried out either by cultural economists or sociologists, and not by Visual Studies or art history researchers. In addition, in most cases these analyses have been conducted by female scholars. The second section attempts to shed light to the role of women gallerists in the 1970s at Art Basel, arguing that their contribution has gone undervalued. There are three gallerists who participated in all the editions of the 1970s, and who not only exhibited their artists but also took leadership roles. These early pioneers not only made pivotal contributions to Art, the original name of what is currently known as Art Basel, but were also responsible for its schedule, development and some important exhibitions. They are Trudl Bruckner (Riehentor Gallery) from Switzerland, Annely Juda from Great Britain, originally from Germany, and Denise René from France, who imposed themselves in a predominantly male-dominated business. The artistic choices within their booths will thus be presented, as well as their collaboration in national exhibitions that occurred within the fair, such as: the British Exhibition of 1975 and the French Exhibition of 1978. However, an analysis of the rosters showed that there was no distinctiveness of female choices and, indeed, they were almost nonexistent, probably thus reflecting the difficulties of the emergence of female artists over the years. These names not only come across as foundational, but also can be considered as a litmus test of the fair's predominantly Eurocentric beginning. In addition to them, other gallerists will also be included in this narration.