You could, I suspect, be forgiven for expressing surprise at the extent of this very thorough look at abstract art as created purely by women. You might also assume that being selective in this way would restrict the coverage. Are there not styles and movements that are overlooked? Well, no, just about everything you’d expect is included as well as a full range of painting, sculpture, installations and performance pieces. As a survey and history of abstract art the book stands as something as complete as you could wish.
Unless you are a specialist, many of the names will probably be unfamiliar, but one stands out and tells the usual tale. Yes, Elaine de Kooning was married to Willem, of whom you have undoubtedly heard. She was taught by Josef Albers and Buckminster Fuller and her subjects included Ornette Coleman, Pelé and John F Kennedy, of whom she was commissioned to produce an official portrait. If her reputation has been eclipsed by that of her husband (as so often happens, even if not deliberately), she had an extensive career in her own right. I particularly like her remark, quoted here: “To me, all art is self-portraits”. That’s one I shall reflect on for some time to come.
As well as examples from and short essays about 112 artists (yes, that many) there are further pieces that analyse wider aspects of the subject. Of particular interest is the piece about the roles of Hilda Rebay and Peggy Guggenheim, founders of major collections in what was then an absolutely male-dominated world.
One has to be wary of describing books as ground-breaking, because the truth is they are usually built on work that has gone before and ride a rising tide. This is, however, a major contribution to art history in general and a neglected corner (if that’s the right word) in particular.
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