Overview

Local/Global: Women Artists in the Nineteenth Century is the first book to investigate women artists working in disparate parts of the world. This major new book offers a dazzling array of compelling essays on art, architecture and design by leading writers: Joan Kerr on art in Australia by residents, migrants and visitors; Ka Bo Tsang on the imperial court in China; Gayatri Sinha on south Asian artists; Mary Roberts on harem portraiture of the Ottoman empire; Griselda Pollock on Parisian studios; Lynne Walker on women patron-builders in Britain; Síghle Bhreathnach-Lynch and Julie Anne Stevens on Irish women artists; Ruth Phillips on souvenir art by native and settler women; Janet Berlo on North American textiles; Kristina Huneault on white settler identity in Canada; Charmaine Nelson on neo-classical sculpture in North America; and Stacie Widdifield on Mexico. This pioneering collection addresses issues at the heart of feminist and post-colonial studies: the nature of difference, discrepant modernities and cross-cultural encounters. Written in a lively and accessible style, this lavishly illustrated volume offers fresh perspectives on women, art and identity. It is essential reading for anyone interested in the history of women artists and the art of the nineteenth century.

Full Product Details

9781138277915

Table of Contents

Reviews

'Local/Global is an enlightening book which shifts the terrain of feminist art history towards local and colonial networks and the spatial dimensions of women's art practice. Its geographical and cultural range is both wide and rich, providing a remarkable map of relations between societies, art-making communities and colonial cultures in the nineteenth century. This excellent, ground-breaking collection has much to contribute to current debates about difference and visual representation.' Gill Perry, The Open University, UK

"'Local/Global is an enlightening book which shifts the terrain of feminist art history towards local and colonial networks and the spatial dimensions of women's art practice. Its geographical and cultural range is both wide and rich, providing a remarkable map of relations between societies, art-making communities and colonial cultures in the nineteenth century. This excellent, ground-breaking collection has much to contribute to current debates about ""difference"" and visual representation.' Gill Perry, The Open University, UK"

Author Information

Deborah Cherry is Professor of the History of Art at the University of the Arts, London, UK and Editor of Art History. Janice Helland is Professor of Art History and Women’s Studies, and Queen's National Scholar at Queen's University, Canada.

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