A overview of three different approaches to modern feministart under the categories of "The Body Politic", "The Body Social" and "Decoration vs. Abstraction".
2,400 words (approx. 9.6 pages), 6 sources, 2002, $ 89.95
Abstract This paper will examine three general approaches in modern feministart 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 feministart, but more importantly signify the diverse multiplicity of modern feministart.
Abstract Discusses emergence of radical feministart & militant feminist artists of the 1970s. Work of Nancy Ellison, Alice Baber, Judy Chicago. Significant exhibitions including (Women Choose Women. Erotic Art by Women. Sexual Politics). Response & confrontation of the new avant-garde art. Major themes of 1970s feministart. Political and aesthetic aspects.
From the Paper "Feminist Art and the Avant-Garde
It has been noted that the artist-driven nature of radical art exhibitions that reigned by the late 1960s, when museum and gallery curators were increasingly usurping the role of the impresario, museums themselves were replacing galleries as venues, and formerly subversive artists were becoming "tamed" by a ?society of mass consumption" (Altshuler, p. 220). While this statement is undoubtedly true, it is also true that with the emergence of radical feminist art and militant feminist artists in the 1970s, a new spirit of the avant-garde was born. The story of the avant-garde has typically been one of ?mutual support among a community and reception of art by a public, all participants enmeshed in systems of personal and economic relations (Altshuler, p. 8)."
Abstract This paper examines the political origins of feministart in the 1960's and addresses the social climate that brought on the birth of the art movement. It describes the divisive nature of the feminist versus universal art debate. The paper argues that the civil rights movement in companion with feministart has ceased to be a "movement". In addition, the paper describes art works of well know female artists of this era.
From the Paper "Feminist art as a named movement evolved in the context of the late 1960's early 1970's political climate. The movement contextually cannot be separated from larger civil rights movements and specifically those relating to women; like the sexual revolution, the women's liberation movement, and the formation and growth of groups like the National Organization for Women. Strictly speaking there can be no real separation of the feminist art movement from the civil rights movements in its context because so much of art of the era acted as the voice and vision of the messages of the movements as a whole. Though there are of coarse exceptions to this rule, art as a whole during this period was a demonstrative agent for social change and feminist art is definitely included in that context."
Tags: Carolee Scheerman, Cindy Sherman, Mimi Smith, Ana Mendieta Judy Chicago Civil rights Womens Movement
Abstract The author of this essay evaluates several specific art pieces, and considers these in-relation to feminist theory and the feminist social movements of late 20th century society. The essay identifies feministart as being UNdefined in style, medium, and representation, but wholly unified by political and social values that reflect a feminist investment in the image and role of women in art, and in society.
Abstract The paper looks at how the art exhibitions in the 1970s featured "women's art" that was inherently bound up with the protest movement politics of that time. The paper discusses the revolutionary nature of these early exhibitions and the historical impact of the selection process used in constructing these exhibitions. It also mentions the fact that modern feministart tends to focus on lesbian artists exclusively.
From the Paper "Less significant today is the question of "who created it"
than what the creation means. Women artists with a radical feminist agenda are employing performance art much as Yoko Ono did some 35 or 40 years ago to publicize her own understanding of what it means to be a woman within a male-dominated social system and artistic milieu.
"Women Choose Women" was important not only because it was a ?first.? It was important because it demonstrated that women artists were no longer content to have males determine what works of theirs would be exhibited and how these exhibitions would be interpreted. Feminist art and scholarship have advanced significantly since that time."
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 feministart 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".
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."
Abstract This paper discusses the lives of Louise Bourgeois and Louise Nevelson by focusing on two examples of their artwork, which demonstrates feminism's entanglement with modern art in the United States. The author investigates, from an art history and cultural context, one representative large-scale work from each artist: Bourgeois' 1996-1997 sculpture "Spider" from the National Gallery of Art and Nevelson's most famous sculpture 1958 "Sky Cathedral" in the Smithsonian American Art Museum . The paper discusses how each of these two works challenges traditional notions of the "feminine" in positing new ideas of what it means to be female in the 20th century. The paper includes color photographs.
Table of Contents:
Introduction
Louise Bourgeois' Spider
Louise Nevelson's Sky Cathedral
Comparison
The Sculptures in Context
Conclusion
From the Paper ""Sky Cathedral" can readily be seen to fit in with the tradition of Abstract Expressionist painting in America; indeed, it was executed in the 1950s, when Abstract Expressionism as a movement was in full swing. What is unusual, of course, is the fact that it is not a painting at all, but a sculpture. Still, one sees traces of the influence of Jackson Pollock, Joan Mitchell, and other artists who used a large-scale "all over" form of expression in their works. At the same time, one sees traces of the Cubist influence in this sculpture, as well."
Abstract This paper discusses the feminist perspective that throughout the 19th Century, there was often still an overwhelming sense of romanticism and nobility instilled in the imagery that did not reflect real women let alone the true hardships and lack of opportunities for women. This paper then argues that women still were seen in outmoded ideas of womanhood and imagery that often did not reflect real women of the time.
From the Paper "Throughout the 19th century, the role of women in society changed greatly with the advent of the industrial age despite resistance the pressure of Victorian sensibilities and a patriarchal society. Partially as a result to economic needs, partially as a result of changing perceptions, women began to demand to enter the employment world; engaging in labour outside of their traditional roles (Tusan, para. 4). Images of these changes played out in visual imagery of the time including painting and graphic arts. Images of women in these disciplines reflect the residual Victorian aesthetic of the role of women as housewife, care-giver to decorative nude to the independent business woman."
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."
Abstract The following paper examines the statements made in Betty Friedan's "The Problem That Has No Name" from "The Feminine Mystique" and in "A Black Feminist Statement" from 'All the Women are White, All the Blacks are Men, But Some of Us Are Brave' which reveal both differences and similarities in the problems faced by each group as well as how race, gender and generational perspectives influence each group's response. The writer concludes that both groups had different experiences in their fights for equality based on their race, social status, economic class, sexual orientation and the time period in which they fought.
From the Paper "Writing in 1963, Betty Friedan revealed the problems faced by white, middle-class housewives who were not content and fulfilled in their roles as wives and mothers. The account by The Combahee River Collective focuses on the experiences of black, socialist, lesbian women 1977. The desires, frustrations and proposed solutions of each group reflect their social status as well as their race and economic class."
Tags: african, american, black, collective, combahee, feminism, feminist, lesbian, river
Abstract In this article, the writer presents a discussion of the key assumptions inherent in contemporary feminist theory. The writer studies the applications of such theory in modern society. The historical framework of feminism is discussed in this paper. The writer makes the distinction between sex and gender.
From the Paper "Feminist theory crosses the boundaries of genre to influence sociology, philosophy, theology and everything in between. Historically, the main expressions of feminist activity were seen by the general public as extremist and radical. Today, though feminist principals underpin all areas of modern life in an appropriately measured way. Radical feminism was certainly the main impetus for the birth of the cultural revolution, which we now know as contemporary feminist theory. A historical framework of feminism was established by pioneers of the movement including Simone de ... "
Abstract The writer of this paper centers on the fields of Far East and Near East art also known as Orientalist art. This paper presents figures and facts pertaining to the genre of Orientalist art from the auction houses of Christie' and Sotheby's as well as others. This well-researched paper discusses the general status of the art industry, while also delving into current trends. This paper examines how the 9/11 terror attacks caused sales and prices in the art industry to drastically fall around the world. This paper discusses the published reports that claim that even prior to 9/11 the art market was showing signs of slowing down. This paper contains published statistics and data pertinent to the art market in general while also presenting 6 illustrated charts and graphs relevant to this particular topic.
Table of Contents:
Introduction
General Art Market Analysis
Orientalist Art Market Analysis
Conclusion
References
From the Paper "Luckily, the art market was able to rebound quite quickly, despite challenges in other sectors. "After the tragedy of September 11th, the art market has consistently trumped the performance of sluggish equities markets" ("Art investment", 2003). For this reason, the art market, in general, has seen a resurgence, despite the downturn attributed to September 11th. However, not all is smooth sailing for the industry. This was evidenced just prior to perhaps one of the largest events in the art market history was the sale of artwork collected by the late Malcolm Forbes. Forbes was an obsessive collector. From Faberge eggs to Orientalist paintings, Forbes collection grew for more than three decades. 361 pieces of art, from this lifetime of collecting went under the hammer at Christie's in London, in 2003."
Abstract This paper discusses how the human body has always been a constant subject in art and in particular western art from the ancient times. This essay examines the various ways in which the body was represented in art from ancient to modern times. Many great pieces of art have had the nude as their theme, or at least contained nudes. The nude is often the subject of art but can also be considered an art form. The paper also looks at the nude as a subject of art and how notions of gender differences, desire and identity reflected on the female nudity in art.
Abstract This paper analyzes Martin Heidegger's definition of art. The author claims that the origin of art is created from some form of activity on the part of the artist, whether it be creating a painting, song, sculpture or poetry. This paper focuses on Van Gogh's painting "A Pair of Shoes" and describes Heidegger's view of this particular work of art as well as his perception of the artist. The writer of this paper questions whether the artist creates the art or if art in fact creates the artist. This paper also discusses the significance of technology and nature in any work of art while describing Heidegger's definition of the 'thing' needed when creating art.
From the Paper "After mentioning the artist, Heidegger begins to question what the artist is. We must question then if the work is what makes the artist, or is it the artist that makes the work. He tells us that the artist is the source of the work, and the work is the source of the artist. Both the work and the artist depend on each other, and one of them cannot exist without the other. Both the artist and work are related to a thing that comes before each, and that is what Heidegger calls art. If artist and work are both dependent on each other to be the source of the other, so do to both depend on art as their source. Heidegger asks if art can be a source of a work of an artist. Heidegger then claims that art is nothing more than a collective noun that signifies nothing now."
Tags:art, book, literature, van, gogh, painting, poetry, technology, review, perception
