Table of Contents

Contents: Introduction, Deborah Cherry and Janice Helland; 'Same but different': women artists in colonial Australia, Joan Kerr; In Her Majesty's service: women painters in China at the court of the Empress Dowager Cixi, Ka Bo Tsang; Women artists in India: practice and patronage, Gayatri Sinha; Harem portraiture: Elisabeth Jerichau-Baumann and the Egyptian Princess Nazli Hanim, Mary Roberts; Louise Abbéma's Lunch and Alfred Stevens's Studio: theatricality, feminine subjectivity and space around Sarah Bernhardt, Paris, 1877-1888, Griselda Pollock; Women patron-builders in Britain: identity, difference and memory in spatial and material culture, Lynne Walker; The Irish artist: crossing the Rubicon, Síghle Bhreathnach-Lynch and Julie Anne Stevens; Nuns, ladies, and the 'Queen of the Hurons': souvenir art and the negotiation of North American identities, Ruth B. Phillips; Placing Frances Ann Hopkins: a British-born artist in Colonial Canada, Kristina Huneault; Chronicles in cloth: quilt-making and female artistry in nineteenth-century America, Janet Berlo; Edmonia Lewis's Death of Cleopatra: white marble, black skin and the regulation of race in American Neoclassical Sculpture, Charmaine Nelson; Modernity and tradition: strategies of representation in Mexico, Stacie G. Widdifield; Index.

About the Author

Deborah Cherry is Professor of the History of Art at the University of the Arts, London, UK and Editor of Art History. Janice Helland is Professor of Art History and Women's Studies, and Queen's National Scholar at Queen's University, Canada. Deborah Cherry, Janice Helland, Joan Kerr, Ka Bo Tsang, Gayatri Sinha, Mary Roberts, Griselda Pollock, Lynne Walker, Sighle Bhreathnach-Lynch, Julie Anne Stevens, Ruth B. Phillips, Kristina Huneault, Janet Berlo, Charmaine Nelson, Stacie G. Widdifield.

Reviews

'Local/Global is an enlightening book which shifts the terrain of feminist art history towards local and colonial networks and the spatial dimensions of women's art practice. Its geographical and cultural range is both wide and rich, providing a remarkable map of relations between societies, art-making communities and colonial cultures in the nineteenth century. This excellent, ground-breaking collection has much to contribute to current debates about "difference" and visual representation.' Gill Perry, The Open University, UK