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Feminist art 20th century
Art and the feminist
Art and the feminist
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Feminism has been an extremely controversial and significant subject over the centuries. The issue of equality between men and women have been questioned and exceedingly debated upon, why men were treated and considered the ‘superior’ gender. During the 1960’s, civil rights, protests against war and gay and lesbian movements were at its peak. It was the period of time, which the Feminist art movement had emerged, also known as the “second-wave” of feminism, shifting away from modernism. Women wanted to gain equal rights as men within the art world. Feminist artists such as Cindy Sherman, Carolee Schneemann and Hannah Wilke pursued to change the world and perspectives on women through their artworks, specifically in body art. Their goal was to “influence cultural attitudes and transform stereotypes.” (DiTolla. T, 2013)
Feminist art had no singular medium or style that united Feminist women artists. It was often a combination of aspects from various movements, including conceptual art, body art, and video art into works that presented a message about women’s experience (DiTolla. T, 2013). However, it was body art that became the primary medium to express the protest against feminism. Female artists during this time wanted to approach art in non-traditional ways in order to change the world, and confront viewers with the prevailing feminist issues of the time.
Feminist artist, Cindy Sherman is renowned for her photographic series of works, which have raised important questions and challenges about roles, and representations of women within society and media. Sherman has been significant in areas which “studies the decentred self, the mass media’s reconstruction of reality, the inescapably of male gaze, the seductions of abjections,...
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...istic art world. (Wacks. D, 2009)
To conclude, the use of body for Feminist and Performance artists in the 1960s-1970s was significant in confronting the way women were viewed as artists in a male dominated art world. It was a vital element in raising consciousness and showing action towards the ideas of feminism. (Holt.J, 2009) Feminine nudity was a controversial problem, which female artists wanted to provoke in order to gain equality. The body became a form of expression to transform social stereotypes, and used as a primary medium, which reasserted aspects of a women’s figure that had been traditionally ignored or repressed by the male majority. (Holt.J, 2009) The body had just become one platform used by feminism and performance artists such as, Cindy Sherman, Carolee Schneemann and Hannah Wilke to rebel and promote their ideas, in order to gain equal rights.
In the great tradition of classical art, nudity and death have been two main themes of the masters. Sally Mann’s photographs twist this tradition when the nudes are her prepubescent children and the corpses are real people. The issue is that her photographs are a lens into unfiltered actuality, and consumers question the morality of the images based on the fact that children and corpses are unable to give legal consent. Her work feels too personal and too private. Mainly, people question whether or not Mann meant to cause an uproar with her work or if the results were completely unintentional. After looking through what Sally Mann herself has said, it can be determined that both options have a grain of truth. She wanted to provoke thought,
In chapter five of Art Theory: A Very Short Introduction by Cynthia Freeland, entitled Gender, genius, and Guerrilla Girls, she discusses how gender and sexuality play a role in art. She opens with discussing the Guerrilla Girls. A feminist group from 1985 that protested against sexism and used gorilla masks to cover their faces. The group created ads in order to get their message across. This is shown when she says, “published in magazines, pasted up as street signage, or slapped onto the bathroom walls in museums and theatres” (Freeland 85). The G-Girls were able to show their support and progressive movement through art. She continues by stating how other women’s art, like pottery, was recognized, but they were still discriminated based
The subject of feminist art is a difficult one, because of the problems defining it. Before feminist movements, women who wanted to be taken seriously as artists had to leave their gender out of their art. For too many centuries, women who've endeavored to make art have been seen as peculiar or eccentric. Being taken seriously as an artist often meant that whoever she was, could not be taken seriously as a woman. The sort of woman who did the “right” thing: managed a pleasant home for her man and then procreated like crazy.
Although their work initially received a critical reception, Simmons and other members of the Pictures generation are now recognized for their sophisticated imagery that asks viewers to question the truthfulness of the photographic image. In this paper, I will compare interviews with Simmons regarding her intent with visual and literary influences at that time. I will demonstrate that although Simmons did not want to label her work as feminist, she played a major role in redefining the aesthetic of feminist art without completely turning her back on the aesthetics and accomplishments of the earlier generation. I will compare Simmons’ work and the work of other feminist artists to the social criticism of Betty Friedan’s The Feminine Mystique in order to determine their relationship to the essential ideas for the se...
Cindy Sherman is a photographer, model and director who focuses on self-portraits that illustrate sexual stereotypes supported by the media. She is widely known for her feminist ideas expressed in her work. Born in New Jersey, January 19th, 1954 and studied at Buffalo State College, New York. She in fact failed her photography course and pursued painting. When she studied with Barbara Jo Revelle, a photography instructor, Sherman enjoyed the immediacy of photography compared to trying to paint perfectly. In 1977 Sherman started the series “Untitled Film Stills”, a set of sixty nine black and white photographs. They confronted the medias stereotypes. Now this body of work is her most known. She explores identity and femininity
Saville’s use of gestural brushstrokes makes the skin appear lumpy. There are areas where the flesh tones Saville used appear blue, purple, and yellowish green which can allude to imperfect skin. The muted background shares tones seen within the skin, but it does not take away from the presence of the nude female figure. Saville’s Propped depicts a women’s nude body that is not typically seen within Western culture. In this case, Saville is using a feminist approach to reclaim the female body from the history of male-produced art to create something that is not typically seen as beautiful or desirable.
Throughout history, women around the world have struggled to obtain equal political, social, and economic standing with men. Consequently, this struggle has carried over into the art world and fields of aesthetics. Fifty-one percent of today’s visual artists are women, yet only 28% of museum solo exhibitions in eight selected museums featured female artists. The art community has a diversity problem, and it is highly important that feminist aesthetics are acknowledged and implemented under the general umbrella of aesthetics. There are several reasons for this. First of all, women deserve reparations for their historical exclusion from the art world. Secondly, current patriarchal standards within aesthetic fields need to be abolished
The article “Why Have There Been No Great Women Artist” by Linda Nochlin and “Life on the Edge: Artemisia Gentileschi, Famous Woman Painter” by Elizabeth Cropper both discuss the same major theme. Both articles discuss the place that women have in the art community. I agree with Nochlin. I believe there have been great women artist, but have only been held back. My points can be expressed and explained with understanding of the different experiences between men and women, and also the thought of what actually makes art great.
Feminist inquiry in art history began in 1971 with Linda Nochlin’s article “why have there been no great women artists” (Peterson & Mathew 1987, 325). To answer her question she stresses that, “art is not a free autonomous activity of a super endowed individual influenced by previous arts or social factors, but rather art is an integral element of structure and is determined by specific social institutions such as arts academics, patrons, patriarchal culture or the myth of the divine creator” (Peterson & Matthew 1987,325), which means that art is not for everyone who feel they are talented enough to hold a manipulate brush strokes. However...
Within this essay performance and feminist art movements will be examined, referring to the opportunities which feminist art created and the relationship between the viewer and the artwork. Through this essay the focus will be on the body as the primary medium through the works of: Yoko Ono and Joan Jonas. By analysing the role of the female body within their pieces, specifically Ono’s performance ‘Cut Piece’ 1964 and Jonas’ work ‘Mirror Check’ 1970. In addition to addressing how the artists Yoko Ono and Joan Jonas, challenge spectatorship through exploring the female body within their works:
Introduction: Judy Gerowitz started the Feminist Art program (FAP) at Fresno State in 1970. The program began with 15 female students that she personally recruited. She also launched the California Institute of the Arts (CalArts) program in Valencia a year later (Jill Fields, 1). She legally changed her last name afterwards from Gerowitz to Chicago. She was an undergraduate at UCLA (Chicago, 102). Gerowitz was recommended by Oliver Andrews, one of her sculpting professors at UCLA, for teaching at Fresno State. According to Gail Levin, “As a first step this new aim ‘required moving away from male-dominated art scene and being in an all-female environment where we could study our history separate from men’s
In the course of human events, women have been subjected to being seen as far less superior than men. Women through most of history have never been seen as equals to men and seen as pitiful and slave like, but women have tried to change the views of society and become equal. Feminist art was a major contributor in helping women fight these societal views during the feminist movement. Many talented women artist banded together during the 1960-1970s to be able fight the societal view as a woman. Their art was sometimes not accepted by society for exploring subjects that were not accepted for that time. They fought to make their topics they talked about socially accepted. Artists such as Judy Chicago, Barbara Kruger, and guerilla girls helped spark and shaped the feminist art movement by
For as long as I could remember I have been fascinated with where women stand in the world; in politics, in military, in the home, basically everywhere. So, when I saw the artists the guerrilla girls on the list of artists we were allowed to write about I knew I had to write about them. I already had some previous knowledge as to who they were, what they stood for and what type of art they created, but when I did some more in depth research on them I was completely enraptured with the message they put into their work, the thought their art work provokes, their standing in the art world, and the way they carry themselves inside and outside the art world. The guerrilla girl’s art work is inspiring to me because I admire artwork that
As discussed in class, it is important to view art history with a feminist lens, because it open up many new topics which were previously overlooked. Topics such as authorship and production (as discussed in our readings), social context, issues of the gaze and looking, and issues of “art genus” are all ones which can be explored by feminist art historians. This is something that I find particularly interesting, because although there were not any “great” female artists,
Cindy Sherman (b. 1954) is arguably one of the most well-known and influential photographers in contemporary art. Exhibited worldwide in a variety of venues, particularly in major cities throughout the United States and Europe, her pieces inspire a great deal of feminist and postmodernist debate and discussion because they embody ideas related to “studies of the decentered self, the mass media's reconstruction of reality, the inescapability of the male gaze, the seductions of abjection, and any number of related philosophical issues”1. In “Automatism and Agency Intertwined: A Spectrum of Photographic Intentionality” (2012), Carol Armstrong analyzes the tensions between automatism and agency inherent to photography as a medium and argues that