This was such a fantastic book! I was lucky enough to hear Lauren Elkin read from this in the summer and reading it and perusing the pictures deepened my understanding of women artists, especially those I had not heard of because their work was ephemeral or deemed too visceral for mainstream appreciation. I really liked the observations that so often women's art, depending on the use of materials, can be seen as 'craft' and not taken seriously, and I thought the links between the artists were really thought provoking. The voice is very accessible, and you don't feel as if you are being lectured to, rather that you are listening in to an intelligent, freewheeling discursive chat. It definitely had some common themes with Elkin's previous book 'Flaunuse' -in that it looks at the spaces, physical and creative in which women are allowed or not allowed to move.

More academic then I was anticipating but a good collection to thumb through. Lots of fun contextual writing about artists and pretty expansive.

In a cursory search, I’ve been unable to find the origin of the term “unruly body”, but it first came to my attention in Roxane Gay’s Unruly Bodies project. I’ve also read Susannah B. Mintz’s Unruly Bodies: Life Writing by Women with Disabilities, and We Are All Monsters by Andrew Mangham—or, more accurately, I tried to, but they are both very scholarly, and most of it went over my head. All of which to say, I’ve already been interested in monsters (Monster Studies is a huge topic on its own!), and “unruly bodies+monsters” will be my latest rabbit hole, no doubt.

My prior exposure to literature on monsters in art was related to disability in literature (Mintz, and Mangham, above, and Disfigured: On Fairy Tales, Disability, and Making Space by Amanda Leduc), so it’s been an eye-opener to read Elkin’s thoughtful treatise on monstrosity in art, in relation to feminism. Although Art Monsters is heavy on visual art history, the images Elkin references are only a quick Google away; even someone with no background in visual art—like me—can find Art Monsters accessible. Although it is rather the focus of the book, Elkin does not limit her analysis to visual art (paintings, photography, film), but turns her thoughts to literature, too. Additionally, having recently read Jazmina Barrera’s Cross-Stitch (tr. Christina MacSweeney), I was really pleased to see a little about the history of embroidery as a feminist art.

Some of my highlights: A thorough education in the work of Carolee Schneemann, Lynda Benglis, Hannah Wilke, Helen Chadwick, and other feminist artists who were active from the 1970s. Art Monsters is inspired by the work of Jenny Offil and Virginia Woolf. I’m also glad that Elkin does not neglect the work of Black artists and artists of colour, including Sutapa Biswas, Kara Walker, Lubaina Himid, Lorna Simpson, Betye Saar, and others. Other writers and personalities in the book: Toni Morrison, Angela Carter, Véra Nabokov, Mary Richardson, and more.

Highly recommended. Take your time, and keep Google and your sticky tags ready. I will be processing and linking all I’ve learnt for years to come. Thank you to NetGalley and to Farrar, Straus and Girouxfor access.

Thank you to NetGalley and the author for an eARC.

This book was ‘it’ for this year. Bestie ate it uppppp.

Happy to include this title in The Year in Reading, my annual year-end longread highlighting personal favourite titles for the Books section of Zoomer, Canada’s national culture magazine. (see feature article at link)

What is an art monster? In her 2014 novel, Dept. of Speculation Jenny Offill’s narrator declares: “Art monsters only concern themselves with art, never mundane things...” and that they are never women. For Art Monsters Lauren Elkin uses this phrase ideas to explore the careers and works of feminist artists, mostly from the 1950s onward. About how their works may have been self censored, their inspirations by or in oppositions to the societal expectations of women.

Blending the biography of artists the creation of their art works, critical analysis and biographical details, Elkin’s book unfurls with a clear through line, but with space to explore different tangents and subjects. At times this reads as complex and unyielding as the art it interprets, but Elkin both asks and provides answers to many difficult questions. The most important of which is who gets to create art and how? What are the goals or purpose of art? The latter especially centered on the works of feminist artists.

The works of Carolee Schneemann, Eva Hesse, Ana Mendieta, Kathy Ackerman and many others are featured, discussed or both. And the strong narrative through line is about the woman’s body as art object, as societal object, as a commercial force and many other lenses.

Particularly resonant was a section detailing an artist who worked with latex and fiberglass, neither material intended for long term stability. When questioned about a legacy or need for it’s long term care the artists was dismissive, stating it didn’t matter, for her needs was the creation and display of the work, not for it’s continued existence.

Worth reading for anyone interested or with a career in the arts.

Art Monsters explores ways in which the female body integrates into the art world. The text is dense and deliberate. Elkin writes formally without being condescending. Structurally, it took me some time to get used to. However, once I hit a stride, it was a text I could not seem to put down.

With my limited art history knowledge, I was still able to digest and relate to this text. Its integration of anecdotal/memoir elements lifts the writing out of a textbook feel, and more into informed exploration. Elkin examines the physical placement of “woman” in art, while contextualizing that being. Elkin makes the evolution of what is deemed “monstrous” apparent and legible. She allows the reader to understand how time period and positioning directly affect the art and the artist.

To try and depict this text’s contents is near impossible. Elkin bounces from artist to artist, giving context to and examination of their work. Lots of ground is covered in this piece and there's trust placed in the reader through this.

To me, this text is demanding, consuming, and deeply personal.

I loved this book for so many reasons, but the main one is that I learned so much about women artists and their work that I never knew despite all my art history courses I took over the years. Performance art and photography are heavily featured in this and I loved being introduced to controversial and thought-provoking artists in the context of the time period and history they come from. I highly recommend this, for all women, not just those who would consider themselves art lovers.

Engaging and insightful. A recommended purchase for collections where feminist theory and art titles are popular.

Art Monsters is a truly phenomenal read that I am really enjoying taking my time with. I'm more familiar with the feminist than theory than the art side, so this book was a particularly interesting introduction to a lot of artists and forms I'm not familiar with! I always say that the sign of a particularly skilled theorist is the ability to make a deep level of analysis accessible to a, if not general, then at least novice reader. Elkin does this very well, explaining the threads connecting each section with detail and clarity. I'm also quite biased to criticism that allows the voice and situation of the author to shine through and inform the piece.

I won't be quite finished with this book (60-70% through?) by it's publication date (as it is quite dense and I want to take my time with it), but I feel more than comfortable recommending it widely to anyone interested in exploring women in art and/or feminist theory. My only complaint is that the images are quite small on e-readers, but this an issue with pretty much any illustrated book! Goodreads and Storygraph review to follow properly finishing.

Lots of really valuable insights here, but it lost its way with the framing about a third of the way through and became more a series of linked essays than a book with a strong and consistent thesis. I’m not sure that the concept of the “art monster” was explored as thoroughly as I would have expected, and a lot of the time Elkin’s framing of womanhood and feminist art is implicitly quite white and definitely cis. She does engage with the work of women of colour but that didn’t always feel integrated into the overarching theory of the “art monster”. Given the focus on embodiment, Elkin really squandered an opportunity to talk more and trans and non-binary artists, fatness, disability, etc. It’s an interesting book, insightful cultural criticism to be sure, but there are some gaps.

This is my favorite non-fiction book I've read all year, and I cannot wait for it to come out to purchase a physical copy! This book was so informative and truly exciting! I took more notes than I have while reading any book, maybe ever. I think Lauren Elkin is a wonderful writer and I was delighted to see that the title, Art Monsters, was inspired by Jenny Offill's Dept. of Speculation, which is a beloved book of mine. Thank you Lauren for this amazing book!

This was such an incredible book. As someone who studies feminist art history and also communication theory, many of the concepts brought up in these pages were very familiar, and unsurprising, but seeing it in a mainstream book like this is beautiful. Usually this kind of theory work is locked inside of academia, so I'm glad texts like this exist outside of graduate programs and universities.

Wow! Lauren Elkin has delivered with this fascinating deep dive into feminist art and its use of the female body. From Simone Weil to Lady Gaga, Elkin has woven such an eclectic mix of female art Monsters bookended by Virginia Woolfs musings from her bath. Ultimately the book is ‘ a pointed reminder that whether we’re loved for our bodies or our brains, we are nothing but meat’ within the patriarchal society we live.

Lauren Elkin's 'Art Monsters' is a strange, visceral and exciting exploration of the history of female art and what really makes artwork 'feminist.' It seems to find it's roots in Julia Kristeva's theory of abjection where all texts explore the way the female body, in glory and disgust, is presented in art.

The book is experimental in both structure and nature. Its fragmented construction is expressive and a large reason that I enjoyed it, but it can make it a complex piece to read. The text definitely demands a slow and thoughtful close reading (and possibly some google searches) to be absorbed fully, but I feel it is testament to the richness of learning that this book provides you with. With that being said though, I find that Elkin presents her thoughts in quite an accessible way when compared to many other forms of learning about art history, especially through the feminist lens.

Overall this is the perfect book for a reader interested in diving deeper into feminism and its history, or the average art history enjoyer. The topics of race, disability, the female body (and nude) are intertwined expertly with exploration of the lives, work and impact of history's notable women artists and left me feeling rich with inspiration and knowledge at the end of my read.

I could not recommend this book enough.

This was a tough read. An exploration of female artists who place the body, often their own body, at the centre of their art, who primarily focus on the body, and often making controversial and provocative art out of this material. Wide-ranging – the book introduced me to many artists I had never heard of – and fragmentary in its structure, I found the book quite destabilising at times with its disjointed narrative but overall it carried me along. I sometimes struggled with all the “art-speak” and found Elkin’s interpretation of some of the art pretentious and overblown, but that’s my personal reaction rather than a criticism of the book. There’s so much here to reflect on that I feel I need to go back and read it again in slow time and not feel so overwhelmed by the magnitude of the material. But that perhaps is the definition of good writing – that it makes us think and forces us to take on board new ideas and concepts. Elkin weaves in her own experiences and responses to the art, and her own reflections on feminism, and I found that personal aspect of the book added another welcome layer. I could have done with more illustrations – although there are quite a lot – as constantly having to break off my reading to turn to Google irritatingly disruptive. However, overall, although I found myself floundering at times, I ultimately feel that this is an important and challenging book with much to recommend it.

The main argument of “Art Monsters” by Lauren Elkin is that feminist artists have emerged as powerful voices, challenging patriarchal norms and redefining beauty. They have embarked on a journey to create art that speaks from the body, breaking free from the traditional patriarchal language that has historically defined and idealized the female body.

Over the past 50 years, feminist art has evolved and diversified, encompassing various mediums and styles. From the abstract expressionism of Lee Krasner to the provocative body art of Ana Mendieta, feminist artists have continuously pushed boundaries and redefined what is considered aesthetically pleasing or acceptable in art. Artists like Cindy Sherman and Kara Walker have used their work to question the portrayal of women in popular culture and challenge societal expectations. Their contributions have expanded the narrative of art history, ensuring that the voices and experiences of women artists are heard and celebrated.

Lauren Elkin delves into the lives and work of these artists, shedding light on their experiences and the challenges they have faced in a patriarchal art world. She defines “art monsters” as feminist artists who have taken up the challenge of creating art that questions the traditional notions of beauty, forcing viewers to confront their preconceived notions and examine their own biases. Elkin examines the idea of unruly bodies in feminist art and the tensions between freestyle thinking and the potential dangers of pushing too far. By introducing the concept of “monstrous aesthetics” in feminist art, she challenges the objectification of the female body and critiques the ways in which women’s bodies have been depicted and consumed in art, advocating for a more inclusive and empowering representation of women.

Art Monsters is an insightful, original, and unconventional book that blends criticism, and historical analysis to provide a comprehensive exploration of the lives and work of trailblazing female artists. By examining the contributions of these pioneering artists, Elkin encourages readers to rethink their understanding of art, beauty, and the role of women in the art world and advocates for a radical re-evaluation of women’s art and their place in art history. Whether you are interested in art, feminism, or both, Elkin’s book is a testament to the resilience and creativity of women artists. It showcases the transformative power of art in shaping societal perceptions and breaking free from the constraints of patriarchal norms.

Art Monsters is a kaleidoscopic, dense, curious text that has a lot of potential avenues for student interest. I do not see a potential place in my curriculum, given its dense nature, but I will consider purchasing a copy or two for my classroom. I really appreciated the intertextuality of the book - it could be really interesting addition to AP Lang's curriculum, especially with its connection to Woolf and Solnit.

For Lauren Elkin’s purposes, feminist art can be said to be traced in 1620 from Artemisia Gentileschi’s Judith Slaying Holofernes, the Hebrew hero/shero, her slash, the hideous gash, depicting the monstrous act that can only be perpetrated by someone equally monstrous. More monstrous than the act of painting the same scene painted by the male artist, Caravaggio roughly twenty years earlier. Painting, this is masculine stuff, painting depictions of grisly valor—that a woman would consider such a tableau through the execution of a masculine profession is too monstrous to imagine. The story of Judith did not make the inclusive cut within the traditional King James canon. One almost wonders why the censures of the seventeenth century did not paint over Judith with a Jude. Almost. Elkin reminds us of the mythological company monstrous Judith keeps: Medusa, the sphinx, Kali. Historically, women have been discouraged from becoming artists. The Rokeby Venus by Velazquez painted in the seventeenth century and slashed with a big knife by Mary Richardson in 1914, the irony being, Elkin observes, work by women artists wasn’t allowed in galleries whereas depictions of nude women, painted by men, were on the walls.

Feminism just got serious. Around that time, segue to another naked lady, Virginia Woolf in her bath. While soaping and rinsing her body parts, our fierce intellectual is pondering the societal situation of woman. Enter Lauren Elkin. The close attention paid by her to the body of Woolf’s work becomes frame and textual grid for her study of the art monster, a term attributed to the novelist, Jenny Offill and applied to feminist art by Elkin.

Elkin weighs in on controversial topics like racial appropriation, overcoming the lack of permission to paint nudes, in the 1980s the discourse on the irresponsibility of feminist artists to depict the female nude without theory when all female nudes fall within the male interpretative gaze, and the female body mutilated by knife slash as an act toward health in breast cancer patients.

The collected biographies of women artists and their art works, working from the 1970s to the present women thematically and conceptually arranged by Elkin make for a fascinating read, her criticism, opinionated and progressive.

My thanks to NetGalley and Farrar, Straus and Giroux for an ARC.

An obviously well written book, but structurally did not appeal to me. Felt slightly disjointed and not cohesive enough for me personally. I think it would have been a better read if the writer did not repeatedly reference the same writer/artist all over. That's just a personal preference, of course. While I thought the topics and arguments introduced seemed compelling and interesting enough, I was ultimately not convinced enough? Still glad to have read it though, and I look forward to reading the author's future work.