Elizabeth Catlett is widely known for her politically charged print and sculptural work during the 1960’s and 1970’s. Catlett is both a sculptor and printmaker and was born in Washington D.C in 1915. She obtained an undergraduate degree in design, printmaking, and drawing at Howard University followed by a Master’s degree in sculpture from the University of Iowa in 1940. Catlett studied sculpture and painting along with Grant Wood; upon graduating she became the first student to receive a degree in sculpture from the University of Iowa. After leaving Iowa, Catlett moved to New Orleans and became chair of the Art Department at Dillard University in 1940. Then she continues her postgraduate studies in ceramics at the University of Chicago in 1941. By 1944, she had married and relocated to Harlem where she taught dressmaking and sculpture. In 1945, Catlett applied for and received the Julius Rosenwald Foundation Grant. After her successful completion of a series of prints paintings and sculptures, she was able to renew this grant, which allowed her to continue her work in Mexico City. While in Mexico City, she continued her studies in painting, sculpture, and lithography and eventually worked with the People’s Graphic Arts Workshop; which was a group of printmakers who created art to promote social change. Eventually she settled in Mexico as a permanent resident where she taught sculpture at the National Autonomous University of Mexico in Mexico City until she retired in 1975.
Throughout her career, Elizabeth Catlett has protested, picketed and even been arrested in the name of social activism as she used her art to advance the cause of improving the lives of African American and Mexican women. Because of her intense work to achiev...
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...years he had the opportunity to be a part of The Art Students League in New York and 1969 was invited by Bob Blackburn to join his printmaking workshop. It was here that Maxwell Taylor worked alongside Elizabeth Catlett and those influences are prominent in his print works. Catlett’s ideology itself has affected others in a major way and it’s interesting to see how that has resonated far beyond America.
Finally, Catlett’s body of work is it's commanding quality without being aggressive aesthetically.
The narratives in the work speak to the racial and social inequalities in America in the nineties. This deep concern with the coloured experience and the struggle for civil rights is seen in the images and sculptures she creates. Especially of women, as she lived through a time of widespread segregation, so her work was created from the place she knew most intimately.
Ester Hernandez is a Chicana artist, best known for her works of Chicana women. Ester’s goal is to recreate women’s lives to produce positive images of women’s lifestyle and to create icons. Her piece, Frida y Yo, contains the iconic painter Frida Kahlo. Frida, after being in multiple accidents causing long-term pain and suffering, began painting, mostly self-portraits, to portray her reality and glorify the pain. Similar to how Hernandez's goals are a juxtaposition to Frida’s artwork, the art piece Frida y Yo creates a juxtaposition between life and suffering and death and fortune.
Visceral. Raw. Controversial. Powerful. The works which Kara Walker creates have elicited strong and diametric responses from members of the art community. She manipulates the style of antebellum era silhouettes, intended to create simple, idealistic images, and instead creates commentaries on race, gender, and power within the specific history of the United States. She has also been accused of reconfirming the negative stereotypes of black people, especially black women, that the viewer and that the white, male dominated art world may hold. This perspective implies that both her subjects and her artworks are passive when confronted with their viewers. Personally, I believe that more than anything, Walker’s work deals in power -- specifically, the slim examples of power black individuals have over their
Did you know that in 1960, Betye Saar collected pictures of Aunt Jemima, Uncle Tom, and Little Black Sambo including other African American figures in areas that are also invalid with folk culture and advertising? Since, Saar collected pictures from the folk cultures and advertising she also makes many collages including assemblages, changing these into social protest statements. When her great-aunt passed away, Saar started assembling and collecting memorabilia from her family and created her personal assemblages which she gathered from nostalgic mementos of her great aunt’s life.
After reviewing Jacob Lawrence’s direct and dramatic paintings, it was clear that his painting helped him express himself. The painting was and still is a product of the economic and cultural self-determination that African-American dealt in the Harlem Renaissance of the 1920s, during the migration and still evident in society today. The visual qualities in Jacob Lawrence artwork that is appealing are the vibrant colors and his clever way of self-expressing the time he was so familiar. In final analysis, his artwork expressed how he felt about his environment and what his perspective were during that time. And, how restrained his painting were, for instance, Street Scene – Restaurant, even though African- Americans had access to restaurants in the neighboring area but, he still place patriot outside the restaurant waiti...
Racism through the years has provided places around the world with a shameful past that even today, racial reconciliation is still only in its beginning phase. Legends such as Rosa Park, Martin Luther king, and Malcolm X sacrificed their own life daily to pave a brighter future for America. However there is only so much people can do to change the ways of the world, the rest is up to the moral ethics of everyday citizens. The novel, Elizabeth and Hazel: Two Women of Little Rock, makes me question society in the past and present. If today; years after racism was said to be over, two people can not move on from their horrid past, how is the rest of the world supposed to? Recent events have proven that racism still exists and will always exist
Whitney Chadwick, Women, Art, and Society 3rd ed. (NY: Thames & Hudson world of art, 2002), 153-160.
Frida Kahlo is known for the most influential Latin American female artist. She is also known as a rebellious feminist. Kahlo was inspired to paint after her near-death bus incident when she was 17. After this horrendous incident that scarred her for life, she went under 35 different operations. These operations caused her extreme pain and she was no longer able to have kids. Kahlo’s art includes self portraits of her emotions, pain, and representations of her life. Frida Kahlo was an original individual, not only in her artwork but also in her
No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman’s photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970’s. It has been said that, “The bulk of her work…has been constructed as a theater of femininity as it is formed and informed by mass culture…(her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections” (Sobieszek 229).
This investigation will examine a few key works by the anonymous female artist group know in popular culture as the Guerrilla Girls. In this essay it will reveal several prominent themes within the groups works that uncover the racial and gender inequalities in politics, art and pop culture with the use of humor. These collaborating artists work and operate with a variety of mediums, their works display a strong message concerned with activism connected by humor allowing the Guerrilla Girls to communicate and resonate a more powerful message to the viewer. The ways in which this collaborating group has employed many questions and facts against the hierarchy and historical ideologies which have exploited women and their roles in art. This investigation will allow the reader to identify three areas in which the Guerrilla Girls apply a certain forms of humor to transform society’s view on the prominent issue of gender in the art world. These specific ploys that are performed by the Guerrilla Girls are in the way they dress, the masks they wear, pseudonymous names of dead women artists and the witty factual evidence in their works. These are all examples to evoke audiences in challenging not only the art society which dictates the value and worth of women in art but also to confront yourself and your own beliefs in a way that makes audiences rethink these growing issues.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
The painting clearly refers to the period of slavery, presenting the unequal roles between black and white individuals. The artists paints the image in a way that both exposes and ridicules the actions of the white man. A black woman being kissed by a white man suggests that she is a slave and therefore in a relationship that was enforced and sexually violent. African American women, as slaves, were subject to the practice of sexual exploitation in the 19th century. Women were treated as property as they were continuously harassed, raped, and beaten by masters as white men with authority took advantage of their slaves. While women were appeared to be consenting to the mistreatment, no safeguards existed in order to protect women from such abuses, and were left with no choice but to engage in sexual activity with their masters. The black man in the image, on the other hand, is subject to being hit, a way of enforcing slavery. The two black figures, are in essence, a form of “luxury” for the white men as the black man is being deprived of his rights by his owner and is used as a tool through work in the fields, while the woman is used as a “luxury” that satisfies her owner through fulfilling the white man’s sexual
Kara Walker’s piece titled Gone: An Historical Romance of a Civil War as It Occurred b 'tween the Dusky Thighs of One Young Negress and Her Heart represents discrimination on basis of race that happened during the period of slavery. The medium Walker specializes in using paper in her artwork. This piece is currently exhibited in the Museum of Modern Art. Even though this artwork depicts slavery, discrimination is still an issue today in America, the country where people are supposedly free and equal. Even though slavery ended in the 19th century, we still see hints of racial discrimination for African Americans in our society. Walker uses color, image composition, and iconography to point out evidence of racial inequality that existed in the
Elizabeth F. Loftus was born Elizabeth Fishman on October 16th, 1944. She grew up in Bel Air, California with her parents Sidney and Rebecca Fishman, and had a high interest in fictionalized crime books (Zagorski, 2005). When Elizabeth was 14, her mother Rebecca drowned in a swimming pool. To cope with her loss, she kept a diary that contained her thoughts. Interesting enough, she would write her thoughts onto a separate piece of paper that she would attach in her diary, and remove it if her future boyfriend was to ask to read her diary (Loftus, 2017). In 1962, Elizabeth started her undergraduate studies at the University of California in Los Angeles as a major in mathematics (Born, 1997). During her undergrad year, she took an
In the late 16th century England experienced poverty, starvation, increase in population, inequality amongst women and men, and lack of opportunity in the work force. During this time England was torn between two religions, Catholicism and Protestantism. England’s economy was primarily agricultural, workers were tied to their land. Due to the social inequality of the 16th century, women were limited to their rights and men were superior. Women worked in the clothing industry and men worked primarily on the farm. Due to the economic hardships in England, men and women migrated to London for a better life. The nation was under the rule of Queen Elizabeth, who surpassed the restrictions placed on women. This paper explores the shortcomings and hardships experienced in Elizabethan England.
Throughout this essay I hope to illustrate how the development of Feminism was shown through art into Post Feminism and how feminism not only gave rights to women but to other 'Minorities ', I also plan on showing how strong Political influence is involved in art and feminism.