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Modern Feminist Art, 2002.
A overview of three different approaches to modern feminist art under the categories of "The Body Politic", "The Body Social" and "Decoration vs. Abstraction".
2,400 words (approx. 9.6 pages), 6 sources, $ 89.95
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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.
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Feminist Art and the Avant-Garde, 2002.
A discussion of the emergence of radical feminist art and militant feminist artists of the 1970s.
2,025 words (approx. 8.1 pages), 9 sources, $ 71.95
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Abstract
Discusses emergence of radical feminist art & 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 feminist art. 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)."
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Feminist Art, 2002.
A study of the evolution of feminist art.
2,165 words (approx. 8.7 pages), 10 sources, APA, $ 67.95
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Abstract
This paper examines the political origins of feminist art 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 feminist art 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."
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Modern Feminist Art History, 2002.
This paper discusses key issues in the modern Feminist art movement.
3,400 words (approx. 13.6 pages), 6 sources, $ 124.95
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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 feminist art 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.
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Feminist Art and the Avant-Garde, 2002.
The paper traces the history of radical feminist art exhibitions and shows how this genre gave birth to a new spirit of avant-garde in the 1970s.
2,407 words (approx. 9.6 pages), 9 sources, MLA, $ 73.95
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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 feminist art 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."
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Feminist and Anti-Feminist Films, 2005.
An analysis of the themes of male protection against male violence in the films, "Something Wild" and "Thelma and Louise".
742 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper examines how good outlaws who are on the run from the law are a typical theme of American cinema and how both "Something Wild," directed by Jonathan Demme, and "Thelma and Louise," directed by Ridley Scott, are of the 'road movie' genre, which features the American myth of the open road and free and easy access to changing one's life through motion.
From the Paper
"Thus, both films deal with a problem-if feminism is about women's rights, what of women's rights if the law, for both men and women, is so often wrong. One reason both films provide different answers is that Something Wild involves a male and a female, while Thelma and Louise involves two females. Something Wild suggests that the female is only capable of full motion and movement on the open road in the presence of a male, while the plot of Thelma and Louise suggests that the road provides a potential means of escape for both men and women, and that the presence of men such as the cowboy/drifter of Brad Pitt can sunder female closeness."
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Art and Women, 2006.
A discussion regarding feminism and feminist issues in art.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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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".
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Two Modern Feminist Artists, 2009.
Compares Louise Bourgeois's "Spider" and Louise Nevelson's "Sky Cathedral" as hallmarks in feminist art.
1,300 words (approx. 5.2 pages), 2 sources, APA, $ 43.95
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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."
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Gender Roles in African Royal Art, 2004.
This paper discusses the feminist interpretation of art from the Yoruban African society.
1,585 words (approx. 6.3 pages), 11 sources, MLA, $ 51.95
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Abstract
This paper explains the use of iconography, the study of images in search of the thoughts and meanings imbued by the artist and transmitted to the viewer, as applied to African royal art. The author points out that, in the Yoruba society, women have a distinct and celebrated role within the community, unlike Western societies. The paper stresses that the crown of the King of Yoruba may be interpreted as representing male power and dominance, but it may also be interpreted as a representation of the cooperative nature of ruling by both male and female within the Yoruba culture.
From the Paper
"The feminist slogan of ?the personal is political? became a banner under which Western women determined to change the social fabric - attacking the norms and mores that had excluded women from participation in all areas of living. The feminist definition of social roles was grounded in an affirmation of women's attributes and contributions, not just of social relations. The Yoruba form of social interaction was not based on individualism, as is the Western concept. ?The Yoruba Iyalode (also called Eiyelobinrin or ?mother of all women,?) was often the head of a lineage as well as, ?the woman designated as their political leader and spokesman in government?. Her title as ?chief? gave her jurisdiction over all women within her sphere of influence. She established courts and heard cases, creating a chain of authority that oversaw women's affairs, including the administration of the all-important markets."
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Realism and Expressionism in Art, 2007.
A comparison of realism and expressionism in the feminist art works of Kathe Kollwitz and Paula Modersohn-Becker.
1,326 words (approx. 5.3 pages), 8 sources, MLA, $ 44.95
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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."
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Feminism in Art, 2007.
An analysis of the feminist perspective in Baroque and Rococo art.
3,257 words (approx. 13.0 pages), 5 sources, APA, $ 93.95
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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."
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Feminism in Inter-Disciplinary Art, 2005.
This paper discusses the inter-disciplinary art of collage artist Barbara Kruger and the Guerrilla Girls, a group of feminist artists.
1,125 words (approx. 4.5 pages), 5 sources, $ 44.95
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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."
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Feminist Theory and Abortion, 2008.
A discussion on abortion in light of feminist theory.
3,002 words (approx. 12.0 pages), 11 sources, APA, $ 88.95
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Abstract
This paper seeks to take a critical look at feminist theory in light of the second wave of feminism by breaking down feminism into its various belief systems and foundations. A short section on feminist bioethics is also presented including its history and foundation. The next section of the paper focuses on abortion in light of feminist theory. The paper then concludes with a personal discussion on the author's agreement with the pro-choice feminist theory on abortion. While theory and foundations on feminism are presented for both pro-choice and pro-life feminist theory, this writer believes that the maintenance of a pro-choice feminist ideology is critical.
Outline:
Abstract
Feminist Theory and Feminism
Feminist Bioethics
Abortion in Light of Feminist Theory - US
Abortion in Light of Feminist Theory - International
This Writer as 'Pro-Choice' - Statement
This Writer as 'Pro-Choice' - Personal Ideology
From the Paper
"Stewart (2003) tells us that from the late 1960s into the 1970s, feminists started developing their own theory as to what feminism was, but by the 190s, there were conflicting opinions and viewpoints on the best way to challenge the patriarchy. Ermarth (2000) comments on the differing viewpoints of feminism that are all individual components of the "feminist umbrella" she refers to as 'identity politics.' To Ermarth (2000), how one identifies themselves determines their concept of feminism. Ermarth (2000) tells us that feminism can take on any meaning, although the most common refers to the social factors related to male supremacy and an opposition to any kind of domination. "
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Feminist Therapy, 2006.
Looks at feminist therapy in the context of a critique of the original psychological branches and the benefits feminist therapy has to its main clientele, women.
1,950 words (approx. 7.8 pages), 3 sources, MLA, $ 62.95
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Abstract
This paper relates that, with the second wave of feminism, women were tired of being told that they were psychologically deficient because they were women, which led to the founding of a new therapy practice called feminist therapy, a specific branch related to feminist practices. The author points out that, based on many original psychological theories and techniques, feminist therapy seeks to empower women to change negative coping strategies and symptoms into effective ways to counter patriarchy and other forms of societal oppression. The paper relates that, in the feminist therapeutic relationship, the key is to have an open dialogue and engagement between the client and therapist as well as seeking to reduce power imbalances to improve the quality of the therapeutic relationship.
From the Paper
"Symptoms are viewed as a way to cope with the pain associated with living in an oppressive society. Feminist counselors believe that symptoms result as the ways the clients know how to cope with life stressors caused by patriarchal systems and believe that "symptoms may emerge as a consequence of coping with conflicting nontraditional and traditional demands of multiple roles" or that "symptoms often reflect influence strategies that were taught or modeled by others in the environment.""
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Feminist Ethics, 2003.
An overview of feminist ethics and how the issue is viewed in contemporary feminist circles.
3,314 words (approx. 13.3 pages), 9 sources, APA, $ 94.95
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Abstract
Women have suffered from the effects of discriminatory employment practices throughout the history of America. Women have traditionally earned less and enjoyed fewer management positions than their male counterparts. The reactions from the feminist community in response to this inequitable share of the American pie have caused a number of misperceptions to develop regarding both the intent and the purpose behind the feminist movement. This paper provides an overview of feminist ethics, followed by an assessment of how the issue is viewed by contemporary feminist authors and observers. A summary of the research is provided in the conclusion.
From the Paper
"Tong says that in order for women to develop a new sense of identity and purpose, they must adopt some new ways of thinking about how the male and female roles have evolved through the ages, and what effect these roles have had on our society today. Tong makes the point that when hard-pressed, even the most ardent feminist, like a Democrat or Republican, might have a difficult time defining precisely what the term means. For this author, feminism is not a monolithic ideology that is restricted to one aspect of these traditional relationships, rather it is one that must recognize everyone?s stake in the outcome."
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