Jo-Anne Berelowitz

[1] BERELOWITZ: (1) In this book you examine debates about marriage, family, sexuality, and gender by focusing on the marriages of Edward and Jo Hopper and Georgia O’Keeffe and Alfred Stieglitz. I was struck by a shift from your previous focus on

[1]   BERELOWITZ: You make the argument that Eakins’s paintings are an attempt to negotiate – indeed, to refashion – Gilded Age conceptions of masculinity. Could you set out for us what was the dominant understanding of masculinity when

[1]   BERELOWITZ: In your book you discuss the embodiment of gender in American art of the first half of the 20th century and trace an unfolding and connected discourse in American modernism from the early days of the Stieglitz circle

[1]   Ursula Biemann’s Been There and Back to Nowhere is about minority women in border zones, the representations made of them in the media, and the efforts of artists working collaboratively with them to construct a different set of

[1]  In the Spring of 1988 a group of women in the contiguous border cities of San Diego and Tijuana established a collective to which they later gave the name Las Comadres.1 For three years they met at venues on both sides of the border,