Arts and Humanities Commons^™

“Putting The Arts In Their Place”: A Case For Map-Making In Art History, Marco Jalla

Artl@s Bulletin

The use of cartography in art history is less than common. Because of its link to the old artistic geography (Kunstgeographie) once used to defend nationalist issues in Nazi Germany, it fell into disfavor until the 1960s and 1970s, when maps regained some attention from a new generation of art historians. Mapping arts indeed proves to be very useful to visualize and organize large dataset and to formulate new hypotheses, both as a descriptive and a prospective tool. The challenge we proposed to the authors was to use maps for questioning the territorial logics, the centers and peripheries of the …

Α “Guarantee Of Clustered Energy And Collective Promotion”: The Association Of Greek Women Artists And Its Exhibitions In The 50s And 60s, Glafki Gotsi

Artl@s Bulletin

Founded in Athens in 1954 the Association of Greek Women Artists aimed at promoting art among the Greek public, confronting the problems of women artists through collective action, and encouraging the presentation of Greek art on the international scene. In the 1950s and 1960s it organized a significant number of group exhibitions in Greece as well as abroad, where its members showed their work. This paper examines the context of the association’s all-women shows and their meaning in relation to feminist cultural politics inside but also beyond national borders. More specifically, it analyzes the circumstances under which the collectivity was …

Women Artists' Salon Of Chicago (1937-1953): Cultivating Careers And Art Collectors, Joanna P. Gardner-Huggett

Artl@s Bulletin

This article reconstructs the history of the Women Artists’ Salon of Chicago, which was founded as an exhibition society in Chicago in 1937, and argues that the Board of Directors turned to the 19^th century precedents of the Palette Club and the Woman’s Building at the World’s Columbian Exhibition as models for their organization. The essay also traces how members of the Women Artists’ Salon deliberately exhibited traditional artworks associated with the feminine and domestic and coordinated social events in order to cultivate greater sales and a new generation of female art collectors.

An Exhibition Of One’S Own: The Salón Femenino De Bellas Artes (Buenos Aires, 1930s-1940s), Georgina G. Gluzman

Artl@s Bulletin

From the late 1920s on, Buenos Aires witnessed the emergence of exhibition spaces of a separatist character for women artists. In spite of their importance, these regular shows have not received any attention from art history literature. Their vast development, the extensive coverage by the press, and their links to feminist institutions have gone completely unnoticed. Focusing on the Salón Femenino organized by the Club Argentino de Mujeres, the purpose of this article is to reconstruct the organization of these events, to examine their reception by art critics, and to analyze the careers of some of the participating women …

"Actividades Femeninas" Collective Exhibitions Of Women In Chile Between 1914 And 1939, Gloria Cortes

Artl@s Bulletin

In 1927 the Great Female Exhibition was held in Chile within the framework of the fiftieth anniversary of the Amunátegui Decree (1877), a precept that allowed women to go to university. The Exhibition was the result of a series of initiatives by the high bourgeoisie that began in 1914 with the creation of women's organizations such as the Women's Art Society.

Twelve years later, in 1939, the MEMCH —Pro Emancipation Movement of Women in Chile— held the Feminine Activities exhibition, conceived as a response to previous experiences led by the elite, and focused on the political and social …

"Women Artists To Victims Of War" - The First Exhibition Of The Moscow Union Of Women Painters And Its Reception By The Contemporary Press., Natalia Y. Budanova

Artl@s Bulletin

A few surviving visual and documentary sources related to the exhibition Women Artists to Victims of the War organised by the Moscow Union of Women Painters in winter 1914 represent a useful primary material for piecing together fragments of the history of this short-lived female art group. The Union exemplified impressive gender changes in educational and professional spheres of Russian art. Yet, it failed to attract strong membership and disintegrated within few years after its institution. By analysing available evidence this essay seeks to uncover and assess the causes of the Union’s defeat in establishing a prominent public profile.