58 WOMAN’S ART JOURNAL The Memory Factory: The Forgotten Women Artists of Vienna 1900 by Julie M. Johnson Purdue University Press, 2012 Reviewed by Megan Brandow-Faller S urmising the perils of separate womens art institutions, an anonymous reviewer for one of Austrias leading feminist periodicals quipped in 1916 that the best success that one might wish of them is that they might no longer be necessary. 1 Julie Johnsons meticulously researched study of women artists in Viennese modernism lends support to the idea that corrective exhibitions, institutions, and monographs serve to ghettoize women artists from the art historical canon. The Memory Factory flies in the face of feminist art historical inquiries stress- ing womens difference and embedded- ness within separate institutions to argue that women artists were not part of a separate sphere, but integrated into the art exhibitionary complex of Vienna (4- 5). Drawing case studies of five highly successful women painters and sculptors closely connected to the Vienna SecessionTina Blau (1845-1916), Elena Luksch-Makowsky (1878-1967), Broncia Koller (1863-1934), Helene Funke (1869- 1957), 2 and Teresa Feodorowna Ries (1874-1956)Johnson refutes the histori- ographical tendency to lump women artists into an aesthetic room of their own, seeking explanations for women artists canonical exclusion in a new cen- ter  whose themes have not always fit Cheltenham, England (1969—72). The prototype for Winged Figure is the only one from among these four major commissions that survives and is the cen- tral piece in the Gift. The ethos of the company, based on partnership of work- ers and management through common ownership, particularly interested the artist. Bowness traces the project from early sketches through the construction of armatures (first wooden, then alu- minum) to the final aluminum cast. Another particularly interesting commis- sion examined in depth is Single Form, the twenty-one-foot bronze on the plaza of the United Nations Building in New York. A memorial to her friend Dag Hammarskjld, this mono- lithic form embodied UN ideals of international cooperation and world peace. As in all of her monumental outdoor sculpture, Hepworth was deeply con- cerned with structural complex- ities, introduced to her early on by her father. Text and photo- graphs document the complex structure of the armature and final bronze and give new insight into the how the timeless simplicity of modernist sculp- ture is achieved. The volume includes several other essays that will be of particular interest to museum professionals. Frances Guy, Head of Collections and Exhibitions at the museum, discusses the financing of the Hepworth Wakefield, which included the Art Fund and the Lottery. Architect David Chipperfield discusses the evolution of his modernist design of irregularly shaped concrete boxes, with attention to the use of natural and artificial light. Project director Gordon Watson recounts its development from 1996 until the start of construction in 2007. Jackie Heuman contributes a valuable essay on the conservation of the prototypes. Barbara Hepworth: The Plasters is an invaluable contribution to the scholar- ship on Hepworth. Complementing the excellent essays are illustrations through- out, both color and black-and-white, that crystallize the authors insights into the artists processes and working methods. A number of the works have been dis- cussed in earlier publications. 3 But no previous publication has given the proto- types for Hepworths late metal works this kind of attention. Readers who are not familiar with Hepworth would do well to begin with her inspiring pictorial autobiography, published in 1985, and the fine volume by Penelope Curtis and Alan G. Wilkinson, Barbara Hepworth: A Retrospective, written for the major exhibi- tion at the Tate Gallery Liverpool in 1994. But anyone with real interest in the thought and working methods of this important modernist sculptor should study this fine book by Sophie Bowness, who is now at work on the catalogue raisonn of Hepworths work. Julie LEnfant is professor of art history and chair of the Liberal Arts department at the College of Visual Arts in St. Paul, Minnesota. Her most recent publication is Pioneer Modernists: Minnesotas First Generation of Women Artists ( 2011). Notes 1. On direct carving, see Penelope Curtis, Sculpture 1900-1945: After Rodin, Oxford History of Art (Oxford: Oxford Univ. Press, 1999), 73-104. 2. Barbara Hepworth, Barbara Hepworth: Carvings and Drawings (London, 1952), “1931-1934” section. 3. An example is Conversation with Magic Stones (1973), which appears in Barbara Hepworth: Works in the Tate Gallery Collection and the Barbara Hepworth Museum Tate Ives, by Matthew Gale and Chris Stephens (1999). Fig. 2. Hepworth with the plaster Single Form at Morris Singer, May 1963. Photo: Morgan-Wells Plates.