Hardback / gebonden
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Engels
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Omschrijving
This is the first full-length biography of Dorothy Morland (1906–99), to date the only female director of the Institute of Contemporary Arts (ICA) in London.
'With her characteristic sensitivity to socioeconomic context and questions of gender and class, Massey seeks to intercept the male-dominated narratives that have come to frame the formation of the ICA. In her new book, she again takes the patrilineage of art history to task by drawing attention to an overlooked – but highly influential – female administrator and director. [...] In fact, it is this layering of the author’s academic career with the professional life of her protagonist that truly animates the text ' Rosie Ram, Art History
'The book is remarkable for the way in which it interweaves a detailed account of Morland’s life with the early history of the ICA and a broad network of artists and art professionals... [Dorothy Morland Making ICA History] provides a welcome and captivating history of one of the most intriguing chapters in modern British art.'
Elena Crippa, The Burlington Magazine
Professorial Fellow at the University for the Creative Arts, Canterbury.
'With her characteristic sensitivity to socioeconomic context and questions of gender and class, Massey seeks to intercept the male-dominated narratives that have come to frame the formation of the ICA. In her new book, she again takes the patrilineage of art history to task by drawing attention to an overlooked – but highly influential – female administrator and director. [...] In fact, it is this layering of the author’s academic career with the professional life of her protagonist that truly animates the text ' Rosie Ram, Art History
'The book is remarkable for the way in which it interweaves a detailed account of Morland’s life with the early history of the ICA and a broad network of artists and art professionals... [Dorothy Morland Making ICA History] provides a welcome and captivating history of one of the most intriguing chapters in modern British art.'
Elena Crippa, The Burlington Magazine
‘This reflective period can be the right time to take stock of postwar history, of incomplete and inaccurate histories and narratives, and to recognize previously downplayed contributions. Morland’s status as a female curator needs to be emphasized, as does her place in British art history… This book is the culmination of decades of research and is enriched by different forms of visual representation that combine elements of the personal memoir with scholarship of the highest order.’ Rina Arya, Journal of Curatorial Studies
Professorial Fellow at the University for the Creative Arts, Canterbury.