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  Belasco plumbs publicity material, photographs, correspondence, and reviews to dive deeply into each show and its art-world reverberations. Belasco’s presentation is academic but accessible, and his scholarship is rewardingly thorough . . . He pays close attention to the frequent exclusion of the art of women of color from these shows . . . and points to Black, Asian, Native, and Latina artists of the time.

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  Library Journal

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  Belasco illuminates the stakes made and strides taken by remarkable female artists, curators, and critics.

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  Gagosian Quarterly

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  Women Artists in Midcentury America shines a light on the complexities of women’s art . . . Intended to be a social history rather than a feature of specific artists or art movements, Women Artists in Midcentury America succeeds in this . . . [and] is made more readable and accessible by avoiding excessive jargon and by presenting each exhibition from a more conversational style, telling the stories of how they came to be. Belasco maintains a consistent energy and interest throughout, which makes for a cohesive overall work.

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  ARLIS/NA Reviews

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  A timely and essential contribution to art historical knowledge of women artists and the wide variety of institutions that supported them with all-women shows from 1943 to 1962 . . . Each chapter uses its titular show as a springboard for exploring a different theme or artistic medium, including race, photography, education, women artists groups, and democracy. This inspired structure yields a wealth of contextual information about and analysis of the careers of now-canonical artists, such as Ruth Asawa, Margaret Bourke-White, and Elaine de Kooning. Importantly, it also puts many new artists, works of art, and exhibition venues on the scholarly radar. Highly recommended.

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  Choice

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  This is an impeccably researched and illuminating history of the all-woman exhibition in the United States, prior to the emergence of the Women’s Movement. Belasco provides a compelling, richly textured account of the vital role institutions, artists, critics, and curators played in mounting groundbreaking exhibitions of work by women artists in an era marked by conservative values and sexual and racial discrimination.

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  Jo Applin, Professor in the History of Art, The Courtauld Institute of Art

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  Belasco’s book offers detailed research that scholars will make use of for years to come, following the threads of individual artists, curators, dealers, and other figures. But it’s the stories themselves that will stay with you: surprising, infuriating, inspiring.

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  Katy Siegel, Distinguished Professor, Stony Brook University, Research Director, SFMOMA

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  Belasco reveals a wealth of new information in this well-researched, captivating study. Interweaving stories of lesser-known and more celebrated exhibitions and artists, he significantly amplifies our understanding of women and the art world at midcentury.

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  Elizabeth Smith, Executive Director, Helen Frankenthaler Foundation

Introduction
1 Avant-Garde: “Exhibition by 31 Women,” Art of this Century, 1943
2 Race: “Portraits of Leading American Negro Citizens,” Smithsonian Institution, 1944
3 Photography: “First Women’s Invitation Exhibition,” The Camera Club, 1947
4 Education: “Ten Women Who Paint,” Smith College Museum of Art, 1949
5 Women Artists Groups: “San Francisco Women Artists 27th Annual Exhibition,” San Francisco Museum of Art, 1952
6 Fiber Art: “Women in Art,” Contemporary Arts Museum Houston, 1953
7 Greatness: “Great Women Artists: 16th to 20th Centuries,” Delius Gallery, 1955
8 Printmaking: “Women Printmakers,” Philadelphia Museum of Art, 1956
9 Abstract Expressionism: “17 of the Women Tops in Art,” Dord Fitz Gallery, 1960
10 American Democracy: “Women Artists in America Today,” Mount Holyoke College Museum of Art, 1962
Afterword

References
Bibliography
Acknowledgements
Photo Acknowledgements
Index

Daniel Belasco is an art historian, curator and Executive Director of the Al Held Foundation, New York. He has written widely on midcentury American women artists.