“This book is a fascinating and welcome addition to the oeuvre.”—Laurie Lisle, Woman’s Art Journal
“Equal under the Sky offers a fresh perspective on Georgia O’Keeffe and the symbiosis between her art and twentieth-century feminism.”—Marilyn Gates, New York Journal of Books
“This meticulously researched volume carefully follows the many diverse themes, personalities, ideas, and opportunities for expression in O’Keeffe’s life, careers, and art.”—P. D. Thomas, Choice
“With a generous understanding of feminism’s complexities and the fraught position American modernism allotted women artists, Grasso . . . produced a rich, thoughtful study that contributes substantially to scholarship on O’Keeffe and reconfigures pervasive ideas about the relationships among women, visual art, and feminism.”—Kimberly Lamm, New Mexico Historical Review
“Show[s] us that O’Keeffe studies still have much to offer, and that fresh perspectives can still be retrieved on O’Keeffe’s richly lived life and prolific body of creative work.”—Amy Von Lintel, Panhandle-Plains Historical Review
“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.”—Helen Langa, author of Radical Art: Printmaking and the Left in 1930s New York
“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.”—Donna Cassidy, author of Marsden Hartley: Race, Region, and Nation
