Abstract
This paper explains that Barbara Kruger and the Guerrilla Girls have taken traditional methods of art application and placed them within the normative modes of advertising methods. The author points out that inter-disciplinary arts, which are more than just an art technique, has become a public forum for feminist issues. The paper relates that, by opening the doors to the way that art is perceived, both Kruger and the Guerrilla Girls have taken art out of the traditional confines of museums and art houses and into modern media formats.

From the Paper
"This art analysis presents an inter-disciplinary study of the art and advertising methods of Barbara Kruger and the Guerrilla Girls. By taking various examples of advertising billboards, magazine ads and other forms of art used within the modern media, an inter-disciplinary mode of art is created through the work of these artists. Through the study of the work of both Barbara Kruger and the Guerrilla Girls, one can realize the feminism and cultural impact of mixed mediums within modern inter-disciplinary art."

Tags:art, disciplinary, feminism

Abstract
This paper examines the use of pain as a gateway for understanding life, as demonstrated through Gina Pane's art. The paper analyzes her practice of bloodshed as being representative of Christ's sacrifice. This paper also discusses the origins of self-mutilation and Gina Pane's life, as well as her main bodies of work.

From the Paper
"Thus, the first forms of alienation take place seconds after birth. Gina Pane represents these sentiments on stage by smashing a mirror, or the reflection of self as seen by society into pieces. The word alienation which had been written across the mirror also is made asunder in symbolic artistry as making the statement of the child being alienated from the mother and the choiceless motive the child had in this decision. Gina Pane ends the performance by lying down next to the naked mother while a violin plays in calming tonalities. Pane peers into her binoculars in an upward gesture. This signifies the voyeurism of life, of art, and of the audience's participation in such a private scene."

Tags:masochism, performance art, feminism blood control

Abstract
This paper examines, compares and contrasts realism and expressionism in the works of Kathe Kollwitz and Paula Modersohn-Becker. It focuses on Modersohn-Becker's "Self-Portrait with Amber Necklace" and "Self Portrait on Her Sixth Wedding Anniversary" and Kathe Kollwitz's "Praying Girl" and "Small Self-Portrait". The paper shows how both artists comparably use a feminine self-expression, but they use differing variations of drawing and painting in their stylistic methods of art.

From the Paper
"The latest of the works that will be analyzed in this study will be the etched lithograph "Small Self Portrait" (1920) by Kathe Kollwitz. The grim countenance of the artist in this drawing reflects her old age, as well as a tired expression defining her life-long artistic commitment and loyalty to the working classes. This feminine image is not grandiose or tainted as are normative standards of beauty that were common in this period, and reveal the reality of an old woman who has seen a great many difficulties in life. In her life, she often sought out women models that reflected her "interest and sympathy for the hardships of the humble working women" (Prelinger 105). The hard lines of her face are depicted in the drawing, which connotes the hardship that she often wished to see in the working people in her community. In many cases, the dark lines and shadowing reflect the realist manner of clarity and proportion, which depict the essence of a clear-sighted view of the artist's presence. Often, this "reality" of her line and composition often dictated her desire to depict people as they appeared, not as an artist's own selfish distortion or beautification of life."

Tags:feminism, expression, style, abstraction

Abstract
This paper takes a look at how during the 1970s and 1980s, certain art critics sought to define women art through common features such as subject matter or use of technique. It further discusses how feminist art critics such as Lucy Lippard preferred the term female imagery while Eleanor Munro disliked that concept because of its sexual connotations. Female imagery had come to mean female sexual imagery which the male art establishment labeled as being feminist. Lippard states that female imagery was first used and should continue to be used to mean female sexual imagery.

From the Paper
"Why did some feminist art critics prefer to use the term sensibility rather than imagery? During the 1970s and 1980s, certain art critics sought to define women's art through common features such as subject matter or use of technique. Feminist art critics such as Lucy Lippard preferred the term `female imagery', while Eleanor Munro disliked that concept because of its sexual connotations. Female imagery had come to mean female sexual imagery, which the male art establishment labeled as being feminist. Lippard (164) states that "female imagery was first used, and should continue to be used, to mean female sexual imagery".

Tags:women, media, approaches

Abstract
This paper will examine three general approaches in modern feminist art by three feminist artists. It will be argued that these feminists assume radically different perspectives with regard to their mediums and objectives. Under the general categories of "the Body Politic" (feminism and politics), "the Body Social" (representations of the human body as a site of conflicting social values) and "Decoration vs. Abstraction" (hierarchical double standards with regard to "male" abstraction and "female" decorative arts), it will be shown how these differences in part reflect the shifting phases of modern feminist art, but more importantly signify the diverse multiplicity of modern feminist art.

Abstract
Both "Briar Rose: Sleeping Beauty" by Anne Sexton and Alfred Hitchcock's 1960 film, "Psycho," were constructed during relatively similar times in American history. This paper shows that, in terms of their theoretical construction in regards to feminism, these two works of art seem to come from completely different eras. The country or time of Sexton's imagination takes the myth of Briar Rose, the name of Sleeping Beauty, and creates an articulation of initially subjugated, childhood, female silence that must be resolved through active female empowerment in marital adulthood. On the other hand, the paper shows that "Psycho" begins with a journey of female empowerment that ends with the female's demise.

From the Paper
"This desire to expiate herself of Crane's guilt, of course, renders her unintentionally naked and vulnerable. Crane unintentionally lays herself open to being first watched by the voyeuristic eye of Norman Bates through a peephole, which the viewer involuntarily participates in. Crane becomes the target of his hidden, sexual rage. Then, she enters the final sleep of death at the end of her journey in the film, while Briar Rose ends Sexton's poem with the desire to awaken from the limits of her feminine existence, the curtailing influence of marriage and home life."

Tags:norman, bates, marion, crane

Abstract
This paper examines the feminist perspective in art and discusses if it is portrayed in the early 17th century Baroque and late 17th century Rococo art. It suggests that there is a lack of the feminist perspective during these time periods. The paper explains why this is the case by discussing the time period, as well as the emerging artists of the two time periods.

Table of Contents:
Introduction
Baroque in the Context of Time
Emerging Artists
The Later Period of Rococo
Conclusion

From the Paper
"That the depictions of the Madonna from the earlier period of the 17th century show the Madonna receiving the blessing of Christ, or bathed in the light of the divine is in keeping with the tradition and doctrine of the Catholic Church. There is nothing suggestive as to the femininity of the depiction other than that of the Madonna being the Immaculate Conception. It does not in these works of art raise her above the masculine hierarchal order of the Church, but rather as the image of what the Church perceives as the role for women; the nurturers, the mothers who give birth to divine greatness, the temptress, the redeemable soul, and she who surrenders herself to the passion of the divine spirit. This is in keeping with the representations of women in the Bible stories, and it is the Bible stories that serve as the inspiration for many of the works of art of the 17th century as a whole."

Tags:Madonna, portraiture, architecture

Abstract
Artistic representations, depending on how they are read, often reveal through their texts ideas about sexuality and/or gender. Discussed here are three works, all of which can be read through the lenses of various topics. Allie Eagle's "This Woman Died: I Care" (died trying to abort herself) involves the politics of protest, Carole Shepherd has worked against specific traditions with her photo-collage, "John", and George Elgar Hick's "Woman's Mission: Companion of Manhood" deals closely with gender identity.

From the Paper
"Protest instantly becomes political within the context of an image, due to the viewer's prior preconceptions regarding the issue under scrutiny. Opinions are challenged, and important questions consequently raised. "This Woman died: I care (died trying to abort herself)", by Allie Eagle (New Zealander) in1978, is an image from which a clear form of political protest can be easily identified. The image can be read in a way that distinctly illustrates an objection against the (suggested) violence forced upon women by society's codes of behavior. It can also be read as a reaction to the question of the legality of abortion, which at the time was under review in New Zealand. In itself the title influences the viewer's interpretation of the image, whilst its visual features serve to demonstrate Eagle's lamentation."

Tags:allie, art, carol, eagle, elgar, feminist, gender, hicks, shepherd

Abstract
This paper discusses the life and art of Judy Chicago and her struggle to help women break out in the art world, and a detailed look at her work, "The Dinner Party," and its sexual and feminist meanings.

Awakening of Feminism
The Role of Judy Chicago in Feminism
The Role of Judy Chicago's "Dinner Party" in Feminism
The Dinner Party
Conclusion

From the Paper
Judy Chicago and her Dinner Party bears some significant historical meaning for the world of feminism, the world of art history, and the world that ordinary people like you and me live. In contrast to the modernists/modernism and abstract expressionists/abstract expressionism that require artwork to be a production from solitary beings, Chicago used a total of 400 or so collective powers to constitute her piece of history. In contrast to the passive roles of feminine figures in the history of art, Chicago not only accepted the female figures but also blatantly integrated the female genitals into The Dinner Party.

Tags:studies, women

Abstract
This paper provides a comparison and contrast of the different perspectives and images of woman presented by three artists and their works. The artists and works include: 1) Willem de Kooning's "The Bicycle," 2) Johannes Vermeer's "Woman Holding a Balance," and 3) Richard Diebenkorn's "Woman in Chaise."

From the Paper
"The women portrayed in Willem de Kooning's "The Bicycle" Johannes Vermeer's "Woman Holding a Balance" and Richard Diebenkorn's "Woman in Chaise" all reflect different perspectives of women and vest in them different qualities. In de Kooning's "The Bicycle" the artist portrays an abstract image of a woman on her bicycle that veers away from images of woman as sensual seductress or helpless and vulnerable. Instead the big brash image and colors represent strength and freedom. As Nochlin writes, "Certainly it is possible to see..."

Tags:art, images, feminism, womanhood, gender, God, symbolism, values, sensuality, de Kooning, Vermeer, Diebenkorn