Women And Creativity

Women, Creativity, and the Arts

Women's Creativity since the Modern Movement (1918-2018)

Extensive work is a result of four year research within the international project Women's Creativity since the Modern Movement, and brings new insights into women in architecture, construction, design, urban planning and landscape architecture in Europe and in the rest of the world. It is divided into eight chapters that combine 116 articles on topics: A. Women’s education and training: National and international mappings; B. Women’s legacy and heritage: Protection, restoration and enhancement; C. Women in communication and professional networks; D. Women and cultural tourism; E. Women’s achievements and professional attainments: Moving boundaries; F. Women and sustainability: City and Landscape; G. Women ‘as subjects’: Documentation, methodology, interpretation and enhancement; SG. Design drawings. / Obsežno delo je plod štiriletnih raziskav v okviru mednarodnega projekta MoMoWo - Ženska ustvarjalnost od modernizma dalje in prinaša nova spoznanja na področju žensk v arhitekturi, gradbeništvu, oblikovanju, urbanizmu in krajinski arhitekturi v Evropi in širše. Razdeljena je v osem poglavij, ki združujejo 116 prispevkov na temo o njihovi izobraženosti, kulturni zapuščini, vključevanju v stanovska združenja ali njihovim prispevkom h kulturnemu turizmu in stroki ter raziskovanju njihovega dela. Zaključi jo poglavje z grafičnimi prilogami.

Women, Creativity, and the Arts

The rhetoric and mythology of Western art has always been oriented toward male artists, a distortion art historians and artists have been struggling against in order to affirm and articulate the creative experiences of women. The editors of this energetically intelligent anthology have selected essays about and by women in the arts. The first section contains nine essays by psychologists, art historians and critics, literary critics, and sociologists, including bell hooks, Christine Battersby, and Linda Nochlin, who is represented by her seminal piece, "Why Have There Been No Great Women Artists?" In the second half of the book, the editors have collected eloquent and stirring autobiographical writings by such twentieth-century arts pioneers as Georgia O'Keeffe, Martha Graham, Louise Nevelson, Ursula K. Le Guin, and Audre Lorde. All have had to fight for the right to make art and then made art that has profoundly challenged not only gender roles, but art itself.