Kirstin Ringelberg, assistant professor of art history, has published an article in the current volume of Prospects: An Annual of American Cultural Studies (Cambridge University Press).
The article, “No Room of One’s Own: Mary Fairchild MacMonnies Low, Berthe Morisot, and The Awakening”, analyzes the female artist’s studio in Impressionist paintings–a completely ignored subject in art history previously–as a site of strategic self-presentation. Rather than accept the binary stance of most such studies, Ringelberg points out the simultaneous complicity in and subversion of gender norms in both painting and literature of the Gilded Age.