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001			200411
003			IT-RoAPU
005			20230501181811.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			230127t20192020nju fo d z eng d
020			_a9780813593388 _qPDF
024	7		_a10.36019/9780813593388 _2doi
035			_a(DE-B1597)9780813593388
035			_a(DE-B1597)540118
035			_a(OCoLC)1125109171
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aN330.N2952
072		7	_aART000000 _2bisacsh
082	0	4	_a700.71/1097151 _223
084			_aonline - DeGruyter
100	1		_aMarter, Joan M. _eautore
245	1	0	_aWomen Artists on the Leading Edge : _bVisual Arts at Douglass College / _cJoan M. Marter.
264		1	_aNew Brunswick, NJ : _bRutgers University Press, _c[2019]
264		4	_c©2020
300			_a1 online resource (192 p.) : _b81 color photographs
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tCONTENTS -- _tIntroduction -- _tPART 1 -- _tVisual Arts Faculty at Douglass College -- _tInterview with Geoffrey Hendricks -- _tInterview with Roy Lichtenstein -- _tPART 2 -- _tAlice Aycock -- _tLoretta Dunkelman -- _tKirsten Kraa -- _tFrances Tannenbaum Kuehn -- _tLinda Lindroth -- _tMarion Engelman Munk -- _tRita Myers -- _tMimi Smith -- _tJoan Snyder -- _tAnn Tsubota -- _tJackie Winsor -- _tInterview with Alice Aycock -- _tInterview with Letty Lou Eisenhauer -- _tInterview with Mimi Smith -- _tPART 3 -- _tThe Women Artists Series at Douglass College -- _tThe Women Artists Series at 25 Years -- _tExhibitions at the Walters Hall Art Gallery, Douglass College -- _tConclusion: More on Douglass College and Women Artists -- _tAcknowledgments -- _tNotes -- _tSelected Bibliography -- _tIndex -- _tAbout the Author
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aHow do students develop a personal style from their instruction in a visual arts program? Women Artists on the Leading Edge explores this question as it describes the emergence of an important group of young women artists from an innovative post-war visual arts program at Douglass College. The women who studied with avant-garde artists at Douglas were among the first students in the nation to be introduced to performance art, conceptual art, Fluxus, and Pop Art. These young artists were among the first to experience new approaches to artmaking that rejected the predominant style of the 1950s: Abstract Expressionism. The New Art espoused by faculty including Robert Watts, Allan Kaprow, Roy Lichtenstein, Geoffrey Hendricks, and others advocated that art should be based on everyday life. The phrase “anything can be art” was frequently repeated in the creation of Happenings, multi-media installations, and video art. Experimental approaches to methods of creation using a remarkable range of materials were investigated by these young women. Interdisciplinary aspects of the Douglass curriculum became the basis for performances, videos, photography, and constructions. Sculpture was created using new technologies and industrial materials. The Douglass women artists included in this book were among the first to implement the message and direction of their instructors. Ultimately, the artistic careers of these young women have reflected the successful interaction of students with a cutting-edge faculty. From this BA and MFA program in the Visual Arts emerged women such as Alice Aycock. Rita Myers, Joan Snyder, Mimi Smith, and Jackie Winsor, who went on to become lifelong innovators. Camaraderie was important among the Douglass art students, and many continue to be instructors within a close circle of associates from their college years. Even before the inception of the women’s art movement of the 1970s, these women students were encouraged to pursue professional careers, and to remain independent in their approach to making art. The message of the New Art was to relate one’s art production to life itself and to personal experiences. From these directions emerged a “proto-feminist” art of great originality identified with women’s issues. The legacy of these artists can be found in radical changes in art instruction since the 1950s, the promotion of non-hierarchical approaches to media, and acceptance of conceptual art as a viable art form.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023)
650		0	_aArt _xStudy and teaching (Higher) _zNew Jersey _zNew Brunswick.
650		0	_aWomen art students _zNew Jersey _zNew Brunswick.
650		7	_aART / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.36019/9780813593388
856	4	0	_uhttps://www.degruyter.com/isbn/9780813593388
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780813593388/original
942			_cEB
999			_c200411 _d200411