The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s is a cultural history that situates the poster at the crossroads…
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Ruth E. Iskin’s books include Modern Woman and Parisian Consumer Culture in Impressionist Painting (Cambridge University Press, 2007; Chinese edition 2010) and The Poster: Art Advertising and Collecting, 1860-1900 (Dartmouth College, 2014). She is the editor of Re-envisioning the Contemporary Art Canon: Perspectives in a Global world (Routledge, 2016), and co-editor of Collecting Prints, Posters and Ephemera (Bloomsbury, 2019).
Author of Selling, Seduction, and Soliciting the Eye: Manet’s Bar at the Folies-Bergère (Art Bulletin, 1995), her articles have appeared in numerous journals, collected volumes, and exhibition catalogues, including, among others, the Guggenheim Museum (Bilbao), the Ny Carlsberg Glyptotek (Copenhagen), and MASP, Museu de Arte de São Paulo Assis Chateaubriand (São Paulo). Her work has been supported by, among others, the NEA (National Endowment of the Arts), CASVA (the Center for Advanced Studies in the Visual Arts) at the National Gallery of Art, Washington, D.C., and the Terra Foundation of American Art. During the 1970s she was a pioneer in the areas of exhibiting contemporary women’s art in the United States and publishing feminist art criticism. She was co-director of Womanspace, Los Angeles, one of the first feminist art exhibition and performances spaces and the founder and editor of Womanspace Journal; taught feminist art history at the Feminist Studio Workshop at the Woman’s Building, Los Angeles, and was Director of the Woman’s Building Galleries. Her work has been translated into eight languages. Iskin is Professor Emerita of Ben-Gurion University of the Negev, Department of the Arts.
The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s is a cultural history that situates the poster at the crossroads…
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