Continuities and ruptures between the early Soviet (c. 1917) and late state socialist (c. 1980s) periods are examined through detailed discussions of a wide range of women's artistic practices, including Liubov Popova, Varvara Stepanova, Tina Bara, Sibylle Bergemann, Véra Chytilovå, Natalia LL, Dora Maurer, the Erfurt Women Artists' Group, Béla KolåFovå, Evelyn Richter, Zorka Såglovå, and many others. Featuring over one hundred images of works ranging from costume sketches and stage maquettes, to photographs and film stills, the book offers a sweeping study of over seventy years of women's artistic production and is meant for any reader engaged at the intersections of feminist and (post-)socialist art histories.

Continuities and ruptures between the early Soviet (c. 1917) and late state socialist (c. 1980s) periods are examined through detailed discussions of a wide range of women's artistic practices, including Liubov Popova, Varvara Stepanova, Tina Bara, Sibylle Bergemann, Véra Chytilovå, Natalia LL, Dora Maurer, the Erfurt Women Artists' Group, Béla KolåFovå, Evelyn Richter, Zorka Såglovå, and many others. Featuring over one hundred images of works ranging from costume sketches and stage maquettes, to photographs and film stills, the book offers a sweeping study of over seventy years of women's artistic production and is meant for any reader engaged at the intersections of feminist and (post-)socialist art histories.

Continuities and ruptures between the early Soviet (c. 1917) and late state socialist (c. 1980s) periods are examined through detailed discussions of a wide range of women's artistic practices, including Liubov Popova, Varvara Stepanova, Tina Bara, Sibylle Bergemann, Véra Chytilovå, Natalia LL, Dora Maurer, the Erfurt Women Artists' Group, Béla KolåFovå, Evelyn Richter, Zorka Såglovå, and many others. Featuring over one hundred images of works ranging from costume sketches and stage maquettes, to photographs and film stills, the book offers a sweeping study of over seventy years of women's artistic production and is meant for any reader engaged at the intersections of feminist and (post-)socialist art histories.