Reviews

—Marilyn Gates, New York Journal of Books

”Equal Under the Sky offers a fresh perspective on Georgia O’Keeffe and the  symbiosis between her art and  20th century feminism. Grasso’s writing is lively and accessible, not always the case with English professors of post-everything critical theory! The contradictions in O’Keeffe’s feminism are teased out with finesse. And the message that there is no one monolithic feminism for all people for all time comes across loud and clear.”

Laurie Lisle, author of Portrait of an Artist: A Biography of Georgia O’Keeffe

“Was Georgia O’Keeffe a Feminist?”
“Professor Grasso’s challenge has been to synthesize and interpret the voluminous amount of material, including the two-volume catalog raisonne and thousand of letters, published since I wrote my biography.

She has focused on one of the most interesting aspects of the artist’s life: her feminism. She analyzes its influence on the youthful O’Keeffe and the older O’Keeffe’s rejection of it, while giving readers an impressive study.”

Helen Langa, author of Radical Art: Printmaking and the Left in 1930s New York

“In this engaging and provocative study, Linda M. Grasso positions Georgia O’Keeffe’s identity and art making, her lived experiences and social/political allegiances, within the larger historical context of contested feminist politics in twentieth-century America. Combining a deeply researched discussion of the complexities of feminist movements in the US with biographical information drawn from an impressive array of primary sources, Grasso opens new possibilities for understanding and evaluating O’Keeffe’s continuing but conflicted relationship with varied aspects of American feminist experience.”

Donna Cassidy, author of Marsden Hartley: Race, Region, and Nation

“Offers a fresh look at Georgia O’Keeffe and the multiple ways that feminism shaped her art, artistic identity, and career. Drawing from rich primary sources, including fan letters to O’Keeffe and media coverage of the artist, Linda M. Grasso demythologizes O’Keeffe’s self-representation as a gender transcendent great American modernist and gives us a picture of O’Keeffe’s art as political and intricately connected to the feminist movements that shaped modernism and twentieth-century American culture.”