Breaking Down the Barriers to Feminist Art Work "Every time a girl reads a womanless history she learns she is worth less." While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized, and this is due to a large extent to their exclusion from the art world. My paper chooses to focus on a few female artists of the sixties and seventies who sought to make up for past history and ensure women were known. These women invented their own language for art making, which included sexual imagery, and left no doubt of their gender. These women made art as women, instead of trying to make art like men and be accepted. My paper therefore focuses on these women, who although werenít involved directly in pre-industrial art history were very much affected by the exclusion of women from it. In the sixties and seventies, the feminist art movement emerged that began to challenge the inequalities that faced women artists. This movement coincided with the feminist movement as a whole, that women across the country were taking part in. Many female artists including Judy Chicago, Hannah Wilke, Eva Hesse and others began to rethink art making and attempted to raise consciousness regarding womenís issues. Many of these women began to focus on their work on sexuality and acknowledging the fact that they were women and artists. This forceful and radical approach was instrumental in gaining the acceptance of females in the... ... middle of paper ... ...s Vision's: Writings by Contemporary Women Artists. New York: Universe, 1994. Holder, Maryse. Another Cuntree: At Last, A Mainstream Female Art Movement. Feminist Art Criticism: An Anthology. London: UMI, 1988. Jones, Leslie C.. Transgressive Femininity: Art and Gender in the Sixties and Seventies. Abject Art: Repulsion and Desire in American Art. New York: D.A.P., 1993. Langer, Cassandra L.. A Working Gynergenic Art Criticism. Feminist Art Criticism: An Anthology. London: UMI, 1988. Lippard, Lucy. From The Center. Toronto: Clark, Irwin & Company Ltd., 1976. Nelson, Louise. Do Your Work. Art and Sexual Politics. New York: MacMillan, 1973. Raven, Arlene. The Last Essay on Feminist Criticism. Feminist Art Criticism: An Anthology. London: UMI, 1988. Tanner, Marcia. Mother Laughed: The Bad Girl's Avant-Garde. Bad Girls. Cambridge: MIT, 1994.
Ambrose has shown his great admiration for his country, reflecting upon his views for America and writing what he has done to help benefit this country, such as his D-day Museum. He visibly shows his patriotism and his fascination for military history as he recounts stories of World War 2 and the War of 1812 and speaks highly of countries achievements of helping rebuild Europe after the war and gaining independence for colonies held by Japan during the war. He uses imagery, contrasting ideas, and quotes from other historians or Americans to back up his messages he tries to convey to his readers. His background also influenced him very heavily in his writing as well and was what encouraged him to keep on writing to the very end.
Whitney Chadwick, Women, Art, and Society 3rd ed. (NY: Thames & Hudson world of art, 2002), 153-160.
During the Art Deco era the calla lily became one of the most popular flowers around. Whether in florist shops or on artist canvases the calla lily became a recurring theme. Like many flowers before it the calla lily came to be more than a flower on its own but it represented the idea of femininity. The calla lily was used by artists such as Tamara de Lempicka, Diego Rivera and Georgia O’Keeffe as a symbol of femininity and feminism. Through examining their works, in relation to their own lives and the events of the day, I will explore how the calla lily came to represent a new type on femininity and feminism.
Feminism and political issues have always been centered on in the art world and artists like to take these ideas and stretch them beyond their true meanings. Female artists such as Hannah Höch, who thrived during the Dada movement in the 1920s in Germany and Barbara Kruger who was most successful during the 1980s to 1990s in the United States, both take these issues and present them in a way that forces the public to think about what they truly mean. Many of Kruger’s works close in on issues such as the female identity and in relation to politics she focuses on consumerism and power. Höch, like Kruger, also focuses on female identity but from the 1920s when feminism was a fairly new concept and like Kruger focuses on politics but focuses more on the issues of her time such as World War I. With the technique of photomontage, these two artists take outside images and put them together in a way that displays their true views on feminism and politics even though both are from different times and parts of the world.
During the height of the feminist movement in 1971, feminist art historian Linda Nochlin published an essay titled “Why Have There Been No Great Women Artists?” in the magazine ArtNews. In this brief polemical essay, Nochlin elaborates upon the reasons why there have been no great female equivalents for Michelangelo or Rembrandt and explores the possibilities behind the lack of great female artists throughout the course of history of art. Unlike most feminist intellectuals in her times, she does not conduct her arguments through the typical feminist views, emotional and subjective centered, but rather through “historical analysis of the basic intellectual issues (Nochlin 145).”
Haney-Peritz, Janice. "Monumental Feminism and Literature's Ancestral House: Another Look at 'The Yellow Wallpaper.'" Women's Studies 12:2 (1986): 113-128.
"Whilst some feminists have argued to be included in 'male stream' ideologies, many have also long argued that women are in important respects both different from and superior to men, and that the problem they face is not discrimination or capitalism but male power." (Bryson, 2003, p. 3). The feminist art movement is unclear in its description because some describe this movement as art that was simply created by women and others describe it as art with anti-male statements in mind. For the focal point of this paper, the goal will be to analyze several female artists and their works of art who influenced, and who are said to have made powerful influence both in the feminist art movement from a political and societal perspective, then and today. With that being said, we will start with the female artist Judy Chicago and a quote from her that calcifies her position as an artist. "I believe in art that is connected to real human feeling that extends itself beyond the limits of the art world to embrace all people who are striving for alternatives in an increasingly dehumanized
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
In this essay by Joanna Frueh, she discusses the work of a feminist artist named Hannah Wilke who wrote “A Retrospective”. In Wilke essay, she discusses how the image of women genitals are not recognized as what they are because it invokes thoughts of sexuality and corruption. Frueh discusses how powerful the way in which Wilke try to make people aware of what women genitals are, and that the word cunt, “will acknowledge female sexuality as a positive, assertive force” as Wilke described the word in her essay.
Haney-Peritz, Janice. "Monumental Feminism and Literature's Ancestral House: Another Look at 'The Yellow Wallpaper'" Women's Studies. 12 (1986): 113-128.
One of the most influential and inspiring feminist artists to produce work, Judy Chicago was able to (how she changed the world) through her work including ‘the dinner party’ (1979).an instillation completed after 5 years of development. Triangular in configuration, equilateral in structure, reflecting the goal of feminism, an equalized world. Completed using ceramics, needle and fiber techniques as well as china painting. The table holding 39 place settings each commemorating a mythical or important woman or historical figure. Beneath the table was 2304 handmade porcelain tiles, 999 of which were inscribed of other important woman’s names. In her artwork the dinner party Judy Chicago gave recognition to woman both achievers and oppressed. In this way she gave a voice to the duality of woman’s issues, not only was she advocating for recognition of woman’s achievements but she was also bringing to the forefront the concept of inequality. Judy Chicago‘’ had been trying to establish a respect for woman and woman’s art; to forge a new kind of art expressing woman’s experience’- challenge and redefine conventions of gender’’ The fact that the names of woman were placed on a high end table setting challenged gender equality in itself as tables like this had previously been only acc...
Peterson, Linda H. "What Is Feminist Criticism?" Wuthering Heights. Ed. Linda H. Peterson. Boston: Bedford Books, 1992. 330-337.
"Our problem," Adeola James writes, in her introduction to In Their Own Voices (James 1990), "is that we have listened so rarely to women's voices, the noises of men having drowned us out in every sphere of life, including the arts. Yet women to o are artists, and are endowed with a special sensitivity and compassion, necessary to creativity" (p. 2).
Marder, Herbert. Feminism and Art: A Study of Virginia Woolf. Chicago: The University of Chicago Press, 1968.
Cyber-bullying can occur at anytime, and anywhere through cell phones, text messaging, videos, emails, blogging, Facebooks, Instagram and more. With all the different communication channels and social medias, It can be used to insult, spread rumors, impersonate, and