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And Linda Nochlin considers changes since her landmark essay and looks to the future, writing, \"We will need all our wit and courage to make sure that women's voices are heard, their work seen and written about.\"\u003c\/p\u003e \u003cp\u003eArtist Pages By: Ellen Gallagher, Ann Hamilton, Mary Kelly, Yvonne Rainer, Martha Rosler\u003c\/p\u003e \u003cp\u003eContributing Writers: Emily Apter, Carol Armstrong, Catherine de Zegher, Maria DiBattista, Brigid Doherty, Briony Fer, Tamar Garb, Anne Higonnet, Ewa Lajer-Burcharth, Molly Nesbit, Mignon Nixon, Linda Nochlin, Griselda Pollock, Abigail Solomon-Godeau, Lisa Tickner, Anne Wagner\u003c\/p\u003e","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50991374270737,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50991374532881,"sku":"GOR006644538","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52654477017361,"sku":"NLS9780262515948","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0262515946.jpg?v=1751037759"},{"product_id":"craigie-horsfield-book-carol-armstrong-9789055448326","title":"Craigie Horsfield","description":"Craigie Horsfield's incredibly moving photographic and video meditations on the phenomenon of the crowd elicit a magical sensation of life passing by at great speed, with both warmth and sadness. Horsfield grasps that the very idea of the crowd transforms itself constantly, both in specific circumstances of congregation (such as dance) and as an historical phenomenon: today we rarely envisage a crowd as a positive agency of social change, for example. Commonly identified as a photographer, Horsfield has often worked in other media--video, sound, drawing, performance and installation--but this volume broaches new terrain, reproducing a series of tapestries titled \u003ci\u003eConfluence and Consequence\u003c\/i\u003e (a title which might stand for the artist's fascination with crowd activity). 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But Degas experimented with various media--drawing and printing techniques, pastel, photography, sculpture--throughout his life, and, after putting Impressionism behind him in 1880, he reached the undoubted culmination of his art in his daring and unique late work. In the artworks he created between 1890 and 1912, the delicate, detailed painting of his mature period gives way to an unbridled pleasure in technical experimentation and an obsessive creativity that increasingly liberates the means of depiction from any straightforward representational function. As if in a dreamlike state, Degas conflates past and present, things seen and remembered, to create his renowned depictions of dancers and female nudes, jockeys and racehorses, landscapes and portraits. \u003ci\u003eEdgar Degas: The Late Work\u003c\/i\u003e is the first publication to present a comprehensive overview of the technical diversity and wide range of themes in Degas' oeuvre, and is published to coincide with an exhibition at the Fondation Beyeler in Riehen\/Basel.\u003cbr\u003eA founder of the French Impressionist movement, \u003cb\u003eEdgar Degas\u003c\/b\u003e (1834-1917) began to paint early in life, possessing a studio by the age of 18, and working primarily in history painting up until 1864, when he met Manet (while both were copying the same Velazquez portrait in the Louvre, according to legend). In 1872 he lived in New Orleans, producing several portraits of his extended family there. 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