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The impact of the women's rights movements
The impact of the women's rights movements
The women’s movement: its composition and development
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Many modernist art movement moved away from traditional medium, topic and form in attempt to change the world through their art, including the influential feminist art movement who, through the efforts of individuals such as Judy Chicago and groups like the controversial guerilla girls, effectively altered the world and the way in which woman are viewed. The successfulness of the feminist art movement had on changing the world is reliant on individual opinion
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...
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... world? My answer is yes. I continue to believe that we need an art that can help us see the world through other people’s eyes and thereby lead us to a future where the world will be made at least a little more whole.”
The term change is a foggy area, the impact something has made on the world is contingent on who is judging it and by what criteria. If a child picks a flower does one less flower in the world mean the world has changed? Maybe feminist artists and the feminist movement fell short in their hope to change the world into a place where there is 100% equality but is not to say they havnt impacted people and changed the world from what is was to what is it today. Is having one more female artist having a painting on the wall due to the efforts of the feminist art movement less of a change that having ten female artists’ paintings on a wall? I believe not.
The painting depicts a mother and her four children, who are all leaning on her as she looks down solemnly, her tired, despondent expression suggests she felt trapped in her roles as being a mother and a wife. The woman and her children are clearly the focal point of the artwork as the bright colours used to paint them stand out impeccably against the dull, lifeless colours of the background. This painting appears to be centred around the ideology that women are home-keepers, whose main role is to satisfy and assist her husband while simultaneously minding the children and keeping the home tidy and ready for his return. The social consequences of this artwork could have been that the woman could have been berated for not taking pleasure out of being a mother and raising her children, as a woman should. She could have been made redundant as her husband may have felt as though she is no longer useful if she couldn’t adequately adhere to her roles as a mother and a
Frida Kahlo and Barbara Kruger’s issues faced throughout their lifetime can be connected to our course. Frida Kahlo’s artwork could be discussed in the Guerrilla Girls book that we have read early in the semester. The Guerrilla Girls portrayed different artists, and their battles faced as women. Frida Kahlo’s art was overshadowed by her artistic husband, Diego Rivera, similarly to many other women artists in the Guerilla Girls. Most women were not credited for their artwork, and were not portrayed in guilds unless they were married or came from a wealthy family. Barbara Kruger’s photography portrayed many feminist prints. Throughout this course, we have discussed the meaning of being a feminist and the issues feminist face
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Works Cited Chin-Lee,Cynthia. Amelia to Zora: 26 Women Who Changed The World.Charles Bridge, 2005. Ergas, G. Aimee. Artists: From Michaelangelo to Maya Lin. UXL, 1995 Lin, May. Boundaries. Simon and Schuster New York, 2000. Cotter, Holland. “Where the Ocean Meets the Mountain”. New York Times May 8: C23.
Jackson, P. (1992). (in)Forming the Visual: (re)Presenting Women of African Descent. International Review of African American Art. 14 (3), 31-7.
Whitney Chadwick, Women, Art, and Society 3rd ed. (NY: Thames & Hudson world of art, 2002), 153-160.
In society, there has always been a gap between men and women. Women are generally expected to be homebodies, and seen as inferior to their husbands. The man is always correct, as he is more educated, and a woman must respect the man as they provide for the woman’s life. During the Victorian Era, women were very accommodating to fit the “house wife” stereotype. Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications.
Throughout history art has played a major role in society. It started out with paintings and went to photography and eventually to films. Artistic interpretation depended on whom the artist was and what he or she wanted to present to the audience. When it came to portraiture, whether it was paintings or photography, the idea of mimesis was very important. However important this may have been, the portraits were mostly products of the media and fashions during that time period. Whatever was popular during the time was used such as columns or curtains in the background. The face was the main focus in the painting and there was little focus on the body. Later on during photography the body was focused on more. Even though photography was used much later after paintings were used, it allowed the artist even more artistic interpretation because of the ability to play a different role and not having to be ones self. The artists that will be focused on are Frida Kahlo and Cindy Sherman. They lived during different periods and their artistic intentions varied because of that. They also had similarities in that they thought outside of the conventional roles. These women were both self-portraiture artists and although they were considered that their interpretations did not always make their portraits self-portraits. Traditionally the artist was an outsider, but when it came to self-portraiture they became the subject and the audience became the outsider. The similarities and differences of Frida Kahlo and Cindy Sherman’s art were tied into the strength and also vulnerability they had because of their roles as women. They wanted the audience to see a background story to the portraits and not just an image of a beautiful face.
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.
Feminism is the public support for or recommendation of women's rights on the grounds of political, social, and economic equality to men. In a more simple way of stating it, women rights equivalent to those of men. Before suffrage begun, women were strictly to act as women should, or what they were expected to act like. They were expected to take care of the children, cook, and clean. Not only were they supposed to do house work, but they also couldn’t vote or own any property. On August 26th, 1920, after 72 long-lasting years of fighting, and prolonged anticipation, women finally won their rights to be treated equally. There have been, and still are, many feminists in this world. One very prominent feminist is Crystal Eastman.
Linda Nochlin in her article, “Why Have There Been No Great Women Artists?” discusses the various aspects to this issue and believes that even though the legal battles of the feminist movement provided formal legal equality to women, too often, it does not ensure substantive equalities. The explanations to this problem can cover the spectrum from sexism to feminism. Nochlin rightly believes that perhaps, the true answer lies in the institutional problems that plague our society. As Nochlin points out, “as late as 1893, lady students were not admitted to life drawing at the Royal Academy in London, and even when they were, after that date, the model had to be partially draped.” The very fact that women artists were denied the right to paint the nude model which was considered critical to the success of any artist validates the point of institutional bias against women. To deny an artist the opportunity to develop proficiency in painting the nude is denying them the prospect of painting historical themes. Most women artists were left with no choice but to concentrate on painting everyday subjects like portraits and still-life. This was a great setback to
In the 19th century society was from different from what it is today. Women were not in the workforce, could not vote, or even have a say in anything. Women were not permitted to give evidence in court, nor, did they have the right to speak in public before an audience. When a woman married, her husband legally owned all she had (including her earnings, her clothes and jewelry, and her children). If he died, she was entitled to only a third of her husband’s estate. Charlotte Perkins Gilman wanted to change this. She wanted people to understand the plight of women in the 19th century. In her short story The Yellow Wallpaper she tries to convey this to the reader not just on a literal level, but through various symbols in the story. In The Yellow Wallpaper the author uses symbols to show restrictions on women, lack of public interaction, the struggle for equality, and the possibilities of the female sex during the 1800s.
The Feminist Art Movement raised women’s status and the world’s awareness on gender equality through artworks that reflect women’s lives, feelings, and value. Through creativity, feminist artists invited the audience into their daily livings, to understand their strengths and efficiency, and to consider their needs and feelings. The movement expanded the traditional female role in society, such as housewives, to individuals with talents including artists, writers, the working class, and professionals. The female artists used media ranging from traditional techniques, like painting, to non-traditional art forms, such as installation art, performance art, conceptual art, and sculptures to share with the audience their new perspectives.
Being a women artist, displaying such an installation was not possible years back. Contrary to the opinions of many students new to the study of feminist literary Criticism, many feminists like men, think that women should be able to stay at home and raise children if they want to do so, and wear bras. Bringing such an art piece, reflection of her inner experiences or having sex in bed after having bad relationship could not be possible before. The main female characters are stereotyped as either “good girls” or “bad girls”. These classifications suggest that if a woman does not admit her male-controlled gender role, then the only role left her is that of a monster. Yet Emin’s confessional art- with its confidences of pregnancy, being raped, destructiveness of guilt, emotional stress- has become much common nowadays with feminist consciousness while in early generation, sharing such experiences lead to the destruction of women’s life. Her unmade bed, surrounded by such bric-bracs tells a story of a depressed, emotionally stressed women artist who asks for a sympathetic shoulder from the viewers by being a transparent soul. “For her British critics it [My Bed] expressed Emin’s sluttish personality and exemplified the detritus of a life quintessentially her own; it was, above all, confessional”, Cherry observes. Emin has limited the word ‘feminist; art practices have been the concerned of an early generation. This point seems to be confirmed by Emin herself, who declares to the discerning nature of her work in which she says that she decides to show either this or that part of the truth, which isn't unavoidably the whole story but it's just what she decides to gives us. As a self-motivated set of influences, feminism no longer titles a unitary or merging project infact it is now being the transformation just as feminist biases are perpetually subject to change. Whereas, looking at Tracey’s other work, Tent “Everyone I Have Ever
Feminism has been an important aspect to change the world. Whether it is in academics, where more women are tilting towards their education and career, then just focusing on their social life. Or in the labor and economic market, where women are managing leadership positions well. Or in politics, where there were more women voter then men in the last presidential election. Even though women have a come a long way to achieve this, there are still some ways to go in order to protect the dignity of all