Over the past 20 years, Ghada Amer's quest to forge an aesthetic language for the oppression of women has established her as one of the most important and widely exhibited contemporary artists. Born in Cairo in 1963, and moving to France at age 11, from early on in life Amer was witness to the cross-cultural subjugation of women, whether from increasing religious conservatism in Egypt, or via the subtler machinations of Western commodity culture. In Amer's hand-embroidered paintings, delicate abstract tracings of sewn thread are counterposed with often quiet but sometimes confrontational erotic imagery. Trawling all manner of materials from fashion magazines, children's fairy tales, pornography, dictionaries, the Koran and medieval Arabic manuscripts, Amer challenges their authority, highlighting their exclusions and countering with a powerfully asserted female subject. This handsome monograph is the first publication to document the full breadth of her art, with numerous images of and detailed commentary on her paintings, sculptures, drawings, prints, videos, performances and garden works. Art historian Maura Reilly contributes a substantial scholarly text that chronicles the trajectory of Amer's career, and art historian Laurie Farrell focuses on the artist's collaborative works with Reza Farkondeh. Also included is a conversation between the artist and scholar Martine Antle, plus a complete chronology, exhibition list and bibliography, all of which affirm this volume as the definitive resource on the artist.

Linda Nochlin (1931-2017) was one of the most pioneering and provocative art historians of our time. In 1971 she published her groundbreaking article, 'Why Have There Been No Great Women Artists?', an impassioned feminist rallying cry that called traditional art historical practices into question and led to a major revision of the discipline. Women Artists: The Linda Nochlin Reader brings together thirty essential essays from throughout Nochlin's career, including two written specially for this collection. The book opens with an interview with Nochlin, in which she looks back on her life's work and reflects on the position of women artists today. Her major thematic texts, such as 'Women Artists After the French Revolution' and 'Starting from Scratch: The Beginnings of Feminist Art History' appear alongside the landmark 1971 essay and its rejoinder, '"Why Have There Been No Great Women Artists?": Thirty Years After.' Also included are entries focusing on a selection of major women artists, such as Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi and Sophie Calle, as well as concise biographies of all the artists discussed in the book and a complete bibliography of Nochlin's publications.

Only 16% of the most recent Venice Biennale artists were female. A mere 14% of MoMA's 2016 display is by non-white artists. Only one third of artists represented by US galleries are female, but over two-thirds of the enrolment in art and art-history programmes is young women... The fight for gender and race equality in the art world is far from over. Indeed, the more closely one examines the numbers, the more glaring it becomes that white, Euro-American, heterosexual, privileged and, above all, male artists continue to dominate the art world. Arranged in thematic sections focusing on feminism, race and sexuality, this book examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Nochlin's 'Women Artists' at the LACMA in the mid-1970s to Martin's 'Carambolages' in 2016 at the Grand Palais in Paris. By exposing both the disparities and inclusive solutions, the author addresses the urgent need in the contemporary art world for curatorial strategies that provide alternatives to exclusionary models of collecting and display. In so doing, she provides an invaluable source of information for current thinkers and, in a world dominated by visual culture, a vital source of inspiration for today's ever-expanding new generation of curators.

Luise Kaish was a key figure in the New York art scene of the late 20th century, whose multidisciplinary and process-oriented practice contributed to various artistic discourses at the time. The strength and breadth of her work, her influential role in education, and the prestigious awards she received in recognition of her practice set her apart as an early female leader in the arts. She will be remembered for her immense talent, highly individual point of view, pursuit of the sublime, keen execution, and passion for life, which, despite the tides of changing tastes, will remain forever significant.

Richard Bell has established a significant reputation as a political commentator and 'enfant terrible' in Indigenous art over the past two decades. This stunningly illustrated catalogue features more than 26 colour plates of his provocative and often humorous works. With their bold use of images and text, they force viewers to face the troubling issue of racism in Australia. Bell's inspiration is complex and multi-layered. He is an avid appropriator, borrowing from other artists, periods and cultures, including Roy Lichtenstein, Jasper Johns, Jackson Pollock, and Aboriginal painter Emily Kam Kngwarreye, among others. He works across a wide range of media, including painting, performance, and video, producing powerful messages that confront and unsettle: about Aboriginal and non-Aboriginal Australians' relationship to each other, about their country's history and about art itself. Accompanies the first travelling exhibition dedicated to Richard Bell's work in the United States. Organized by the American Federation of Arts, it opens at the Tufts University Art Gallery, Medford, Massachusetts in September 2011