Free PDF Women Building History: Public Art at the 1893 Columbian Exposition

Free PDF Women Building History: Public Art at the 1893 Columbian Exposition

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Women Building History: Public Art at the 1893 Columbian Exposition

Free PDF Women Building History: Public Art at the 1893 Columbian Exposition

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Review

“Corn does an expert job. . . . Highly recommended.” (JW Stamper Choice 2011-09-02)“Corn produces a convincingly argued work that offers a fresh reading of art created by women for the Fair.” (Art Libraries Society Of North America 2012-07-26)“Excellent. . . . Corn’s artfully argued monograph is a landmark contribution to American cultural studies.” (Women’s Art Journal 2012-06-01)"Offers valuable insight into the art of the fair and the criticism it generated. . . . This should be essential reading." (Abigail Markwyn Journal of American History 2013-06-01)

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From the Inside Flap

"An erudite and spirited exploration of the Woman's Building at the 1893 Chicago fair and the unique opportunity it afforded American women to make public art, Wanda Corn's fully contextualized account is a critically important contribution to the ongoing and still crucial effort to rebuild and reclaim women's history."―Norma Broude, author of Impressionism, A Feminist Reading: The Gendering of Art, Science, and Nature in the Nineteenth Century

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Product details

Hardcover: 280 pages

Publisher: University of California Press; First edition (March 8, 2011)

Language: English

ISBN-10: 0520241118

ISBN-13: 978-0520241114

Product Dimensions:

8 x 1 x 10 inches

Shipping Weight: 2.3 pounds (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

2 customer reviews

Amazon Best Sellers Rank:

#2,141,356 in Books (See Top 100 in Books)

This book gives an excellent review of the artists and the lady manager Mrs. Potter Palmer. The fact Mrs. Palmer was able to create a "Women's Building" and feature women artists testifies to her status and clout. It is very well written with masses of details on the women and the art.

In "Women Building History: Public Art at the 1893 Columbian Exposition", Wanda M. Corn examines “the large group of women who founded, administered, designed, and decorated the Woman’s Building” at the 1893 Chicago World’s Fair (pg. 5). She continues, “That the 1893 Woman’s Building of 1893 is a milestone in the history of American art is reason enough for a closer examination of its entire decorative program. Not only was it the first occasion on which MacMonnies, Cassatt, and other women were able to work on a grand scale, but it was their last and only opportunity to fulfill a public commission. Furthermore, it was the only artistic event of the century in which women, in a loosely formed collective, decorated an entire hall” (pg. 9). She further argues that these images and their rhetoric “contributed to the woman’s emancipation movement at the end of the nineteenth century” (pg. 10). Corn continues, “It would fall to women artists at the Fair to wrest the female body from the male gaze and make it speak to woman’s work, intelligence, and emancipation” (pg. 10). Finally, Corn argues that women’s imaginations were “determined by the separatists activities of the sexes in Gilded Age American culture and the discourses that swirled around late nineteenth-century woman’s culture” (pg. 17). Corn draws extensively upon the work of Robert Rydell and Gail Bederman.Corn argues, “Women were highly conscious that they were speaking in a separate voice from that of their male colleagues. They produced a woman-centered history of the past and present, a brazen counternarrative to the technological story told so often by men” (pg. 20). While male artists used women as subjects in allegory, “women artists, in contrast, recognizing that classical allegory was embedded in masculinist discourses and Victorian binaries, gravitated to new ways of representing their sex in public decorations” (pg. 45). Corn further argues, “The birth of officially sanctioned woman’s buildings at American international fairs was tightly embedded in the debates that raged around women’s issues and gender equality in the last quarter of the nineteenth century. Emblematic of the waves of American women seeking a broad range of reforms benefitting their sex, such buildings were typically proposed, organized, and administered by middle- and upper-class white women” (pg. 65). Further, “The Woman’s Building of 1893 was one of the places where women of different political persuasions learned to work side by side, an important step along the arduous path the universal suffrage” (pg. 70). Corn continues, “If women were going to have a pictorial history that featured them, it would have to be invented. The women decorators would have to take the lead stories of the Fair – Progress, Evolution, Modern Civilization – and change their perspective from male to female, telling ‘her-story’ rather than ‘his-story’” (pg. 97). As an example, Corn writes, “Removing modernity from the center of women’s lives was one way in which post-Victorian artists collectively revised the earlier generation’s priorities and demonstrated a widespread desire to redefine woman’s capabilities and enlarge her sphere of activity” (pg. 99).Of the artists, Corn writes, “These artists created American girls who did not just dream of a better future but performed new ways of being female. By giving modern young women an inner self but also desires and ambitions, these muralists participated in the formation of a new female identity. They helped formulate the modern ‘American girl,’ as she was called at the time, a young woman enjoying a sustained period of growth between childhood and marriage” (pg. 122). Further, “Artists opted to picture woman’s work throughout history and to construct their story as a single-sex trajectory from past enslavement to present enlightenment. They may have painted in different styles, but they told the same story. The consistency of the historical narrative women envisioned for themselves in 1893 attests to its wide currency in American culture at large” (pg. 149). The artists “wanted to expand the meanings of ‘feminine’ and to make it embrace the clubwoman, artist, and writer, not just the daughter, wife, and mother. They wanted their sex to have more options without having to give up their feminine refinement and sophistication” (pg. 170). Corn concludes, “Progress cycles helped women see beyond the biological body that was understood in the wider culture to script their destiny” (pg. 188).

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Women Building History: Public Art at the 1893 Columbian Exposition PDF

Women Building History: Public Art at the 1893 Columbian Exposition PDF

Women Building History: Public Art at the 1893 Columbian Exposition PDF

Women Building History: Public Art at the 1893 Columbian Exposition PDF