Since the 1990s, women artists have led the contemporary art world in the creation of art depicting female adolescence, producing challenging, critically debated, and avidly collected artworks that are driving the current and momentous shift in the perception of women in art. Girls! Girls! Girls! presents essays from established and up-and-coming scholars who address a variety of themes, including narcissism, nostalgia, post-feminism, and fantasy with the goal of approaching the overarching question of why women artists are turning in such numbers to the subject of girls – and what these artistic explorations signify. Artists discussed include Anna Gaskell, Marlene McCarty, Sue de Beer, Miwa Yanagi, Eija-Liisa Ahtila, Collier Schorr, and more.
Contributors include: Lori Waxman, Lucy Soutter, Harriet Riches, Maud Lavin, Taru Elfving, Kate Random Love, Carol Mavor and Catherine Grant.
Reviews
'Tracking the figure of the girl across the fields of contemporary art and film, this book moves effortlessly between cultural criticism, art history, and feminist theory. Be forewarned, however: the girls in contemporary art are anything but docile or well-behaved. From baby butches to bad girls, from reluctant Lolitas to hysterical orphans, these girls make terrific trouble in the lavishly imagined worlds they inhabit. And the women who do that imagining? They are some of the leading artists and filmmakers of our day. And thanks to ‘Girls! Girls! Girls! in Contemporary Art’ they get their critical due.' – Richard Meyer, University of Southern California
'‘Girls! Girls! Girls! in Contemporary Art’ is the missing link in the new feminist art history/criticism. It engages with that crucial and ambiguous period where children become women. In a way, one might say that girlhood lies at the root of Freud’s question ‘what do women want?’ at the same time that it mystifies this originary moment in women’s history. These texts hit the crucial questions in girl representation, running the whole gamut from charm to hysteria to murder.' – Linda Nochlin, New York University
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