"[A] tart, funny, lurid little bomb of a book. It's all p.c., of course, but not at all predictable, and a lot of righteous information gets dispersed in record time." -- BUST Magazine We were Guerillas before we were Gorillas. From the beginning, the press wanted publicity photos. We needed a disguise. No one remembers, for sure, how we got our fur, but one story is that at an early meeting, an original Girl, a bad speller, wrote 'Gorilla' instead of 'Guerilla.' It was an enlightening mistake. It gave us our mask-ulinity. Ever wonder about the abundance of naked male statues in the Classical section of your favorite museum? Did you know medieval convents were hotbeds of female artistic expression? And how did those "bad boy" artists of the twentieth century make it even harder for a girl to get a break? Thanks to the Guerrilla Girls, those masked feminists whose mission it is to break the white male stronghold over the art world, art history--as we know it--is history. Taking you back through the ages, the Guerrilla Girls demonstrate how males (particularly white males) have dominated the art scene, and discouraged, belittled, or obscured women's involvement. Their skeptical and hilarious interpretations of "popular" theory are augmented by the newest research and the expertise of prominent feminist art historians. "Believe-it-or-not" quotations from some of the "experts" are sprinkled throughout, as are the Guerrilla Girls' signature masterpieces: reproductions of famous art works, slightly "altered" for historic accuracy and vindication. This colorful reinterpretation of classic and modern art, as outrageous as it is visually arresting, is a much-needed corrective to traditional art history, and an unabashed celebration of female artists.

Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz

Since 1985, a group of anonymous women wearing gorilla masks and brandishing glue brushes have taken zap actions at the art world's "stale, male, Yale" establishment. Their wonderfully smart-ass posters (example: "Advantages of being a woman artist: Working without the pressure of success, knowing your career might pick up after you're eighty..".) have bedecked city walls, converted elitist curators, become collector's items, and even found their way into museum collections. Their work - and this book - offers proof that humor is a great, blunt-edged weapon against evil. The Guerrilla Girls are a collective of female artists and art-world professionals. Their largest contingent is in New York, but they have also been sighted all over the United States, across Europe, and wherever truth, justice, and the American way of discrimination still prevail.

Now available in a new edition, this book offers more than 500 years of achievements in art by women. This beautifully produced, richly detailed, and comprehensive survey of fifty influential women artists from the Renaissance to the Post-Modern era details their vast contributions to the art world. From the Early Baroque painter Artemisia Gentileschi and the seventeenth-century illustrator Maria Sibylla Merian to Impressionist Mary Cassatt and Berthe Morisot, and to modern icons such as Frida Kahlo, Georgia O’Keeffe and Louise Bourgeois, the most important female artists are profiled in this book in chronologically arranged double-page spreads. There is a succinct biography for each artist, together with information outlining her accomplishments and influence, additional resources for further study, and, best of all, brilliant full-color reproductions of the artist’s works. Packed with information, this stunning and absorbing book showcases the remarkable artistic contributions of women throughout history.

Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 female artists from around the globe in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from the Renaissance to Abstract Expressionism for the modern art lover, reader, and feminist.

"This expanded edition is brought up to date in the light of the most recent developments in contemporary art. A new chapter considers globalization in the visual arts and the complex issues it raises, focusing on the many major international exhibitions since 1990 that have become an important arena for women artists from around the world."--BOOK JACKET.

The Continental Aesthetics Reader brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections from Agamben, Butler, Guattari, Nancy, Virilio, and iek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, The Continental Aesthetics Reader provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Ranci.