RUSINKO, Marcela. Disregarded or Adored? Remarks on Art Market Responses to Women Artists Behind the Iron Curtain. In Lazzaro, Elisabetta; Moureau, Nathalie; Turpin, Adriana. Researching Art Markets : Past, Present and Tools for the Future. London: Routledge, 2021, p. 112-125. ISBN 978-1-000-36168-1.
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Basic information
Original name Disregarded or Adored? Remarks on Art Market Responses to Women Artists Behind the Iron Curtain
Authors RUSINKO, Marcela (203 Czech Republic, guarantor, belonging to the institution).
Edition London, Researching Art Markets : Past, Present and Tools for the Future, p. 112-125, 14 pp. 2021.
Publisher Routledge
Other information
Original language English
Type of outcome Chapter(s) of a specialized book
Field of Study 60401 Arts, Art history
Country of publisher United Kingdom of Great Britain and Northern Ireland
Confidentiality degree is not subject to a state or trade secret
Publication form printed version "print"
RIV identification code RIV/00216224:14210/21:00118984
Organization unit Faculty of Arts
ISBN 978-1-000-36168-1
UT WoS 001056582600010
Keywords in English female artists; Czechoslovakia; art market; state socialism; artistic careers; Adriena Šimotová
Tags rivok, topvydavatel
Tags International impact, Reviewed
Changed by Changed by: Mgr. Michal Petr, učo 65024. Changed: 27/6/2024 10:58.
Abstract
Looking back to the art scene behind the iron curtain, this chapter reveals the long and challenging career paths of four influential Eastern-Central European women artists. It focuses on the careers of female art figures who had an active role in the Czechoslovak art scene between the 1950s and 1980s and shared lifelong marriages with successful male artists. It focuses on the career and market development of Adriena Šimotová (1926–2014) and of other innovative neoavant-garde artists: Běla Kolářová (1923–2010), Eva Kmentová (1928–1980) and Věra Janoušková (1922–2010), as well as their husbands’ careers. Taking into account artists’ presence on then-state market and art-historical theoretical recognition, this chapter also offers a measurement of gender art (un)equality, which happened to regularly fluctuate between 1:5 and 1:3 (in exceptional cases down 1:2). Moreover, as an interesting case study of a female artist’s gradual career emancipation, it presents the market’s rising response to Šimotová’s work during her six-decade-long journey, contrary to the opposite trend experienced in her husband’s career. These cases show to what extent not only totalitarian conditions but also gender stereotypes, family patterns and patriarchal structures were substantially decisive factors, similarly to women colleagues in the West.
Links
GA20-09541S, research and development projectName: Dějiny umění na Moravě: Morava v dějinách umění (Acronym: Dějiny umění na Moravě)
Investor: Czech Science Foundation
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