| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "MODERN FEMINIST ART HISTORY": |
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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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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.
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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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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Architecture: Modernism, Pre-Modernism and Post-Modernism, 2002.
A discussion of the different movements - pre-modernism, modernism and post-modernism - in architectural history and how each one differs from the other.
2,550 words (approx. 10.2 pages), 10 sources, MLA, $ 77.95
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Abstract
A paper which discusses the different movements in architectural history and compares the differences between them. The paper shows how among these movements, modernism is the most popular and how it has influenced art and architecture in the United States and Europe. It shows, on the other hand, that pre-modernism is a less popular era in which architecture was influenced by the industrial age and its need for order and precision, and that Post-modernism was the movement that followed modernism and contains elements of both classicism and modernism.
From the Paper
"During the modernism movement, architects started using steel and iron more in their designs and they also started focusing on functional designs. Apart from the use of steel and iron, concrete was also brought back to the architectural world. It is important to know here that concrete is one thing that sets late 19th century buildings from pre-modernism architectural designs. While concrete was first used by the Romans in 5 B.C., it was later taken over by other materials such as marble, stone, brick etc. Modernists are responsible for the revival of concrete in architecture."
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Modern Art: Its Style, Values and Philosophy, 2002.
A study of modern art, a broad movement that was created out of the wish for change and innovation in art.
1,580 words (approx. 6.3 pages), 3 sources, MLA, $ 51.95
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Abstract
This essay gives the historical and social background of modern art, explains the general ways that modernist work can be seen as uniquely different from art that came before, and looks at two specific examples of modern art?s radically different approach. It clearly defines modern art and explains the foundations and philosophy behind art of the past hundred and fifty years.
From the Paper
"When defining and discussing modern art, it is first important to clarify exactly what the term means. Modern art refers primarily to painting, sculpture, and architecture created since the blossoming of technology and modern society. In broader historical thinking, the word modern refers to that time after the Renaissance and the Age of Discovery, however, the modern art movement is generally agreed to have been between the 1860s and 1970s. Like many discussions about art history, these dates are subjective. Painting, sculpture, and architecture from this period of history are called ?modern? or ?modernist.? For many art historians, modern art began with the work of Edward Manet. Manet was one of the first impressionists and modern artists, those who reacted to the very formal and rigid style of painting done inside studios and set by traditional institutions in the nineteenth century. Modernism ended with the start of what many refer to as ?post-modernism? in the 1960s and 1970s. This essay will give the historical and social background of modern art, explain the general ways that modernist work can be seen as uniquely different from art that came before, and look at two specific examples of modern art?s radically different approach to painting. When compared to Renaissance and other western ?traditional art? up to the late nineteenth century, it will be seen that modernism was a totally new paradigm for art."
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Primitivism in Modern Art, 2004.
Explores the influence that primitive art has had on modern art.
923 words (approx. 3.7 pages), 10 sources, MLA, $ 32.95
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Abstract
This paper describes how modern art appropriated images from so called "primitive" cultures and describes the social changes that prompted this attraction to primitive art forms. The paper also discusses some of Picasso's works and notes how these works were influenced by African culture and art.
From the Paper
"A central facet of modernist art was the questioning of and dissatisfaction with the traditional views of life and art, and the concomitant rejection of established standards in the search for the new and different. Social factors such as the First World War also lent impetus to this search for alternative views of reality that was expressed in modernist art. In their search for alternative styles and means of expression, artists were attracted to the unusual and exotic. African art was one of the areas that supplied images and artistic energy that inspired many artists of the time. Artists like Picasso and Gauguin found formal ideas and images in the so-called primitive societies that resonated with energy and a new artistic rhythm."
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Post-Modern Art and Artists, 2004.
This paper discusses the philosophy of art, especially post-modern art, and reviews the works of contemporary artists John Currin, Lucas Samaras, and others whose photographs are included in the ?Only Skin Deep? exhibit.
3,120 words (approx. 12.5 pages), 6 sources, MLA, $ 90.95
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Abstract
This paper explains that artists of the postmodern tradition, including John Currin, Lucas Samaras, and the contributors to ?Only Skin Deep?, utilize the presentation of beauty, the process of identity, the heritage of earlier eras in their representations of reality, and the label of postmodern through the auspices of critical questioning. The author points out that Lucas Samaras is a modern artist, utilizing the technology of the age in his art to produce a chaotic effect reminiscent of the surrealists and Dadaists. The paper relates that the paintings of John Currin are satire, seeing something from another perspective, sometimes inside-out and cynically, sometimes through the looking glass of humor, which often mocks social conventions, beliefs, and traditions.
Table of Contents
Introduction
The Role of ?Beauty?
Identity
Modern and Postmodern
John Currin
Lucas Samaras
"Only Skin Deep"
Discussion
Conclusion
From the Paper
"Samaras also incorporates the use of fetishes, or aesthetic objects as props. Because the aesthetic object is defined through the shared social definition, the importance of the fetish increases as the scope of its communicability widens. He incorporates mixed media box constructions and the discards of normal life such as a carving set to present his images of self. He adds to these boxes the accouterments of embellishment -?yarn, pins, paint, fake jewels, mirrors and rocks. The audience is compelled to ask, ?What it all means and what, if anything, does it say about the modern self?? He dwells not so much in the postmodern state of criticism as the modern presentation of questioning the future."
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Technology and Modern Art, 2002.
The relationship between technology and modern art.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper explores the relationship between new and rapidly changing modern technology and modern art. The author takes us on a sight seeing mission of the many different things that have evolved in the art world since the technological boom of the seventies began. We are treated to a comparison of techniques as well as a discussion about the future of art based on the coming age of technology.
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Three Modern Art Summaries, 2004.
This paper summarizes three articles on modern art.
678 words (approx. 2.7 pages), 3 sources, MLA, $ 23.95
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Abstract
The purpose of this paper is to summarize three articles on modern art. These articles are on the American Action Painters, Post-Pop Art and how imperialism and paternalism have influenced culture and art.
From the Paper
"The purpose of this essay is to discuss the action painters in the context of modern art. Rosenberg talks about the difference between modern art and traditional art and identifies modern art as incorporating the social conditions and experiences of artists and their subject; the reproduction of life in this case is an abstract concept and is expressed through action or the experience of what happens when the experience, feelings and creativity flow through the artist and the...."
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The Museum of Modern Art - An Analysis of Works, 2002.
Several works from The Museum of Modern Art, New York, are described, analyzed, compared and contrasted.
2,787 words (approx. 11.1 pages), 4 sources, MLA, $ 83.95
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Abstract
This is a comparison/contrast essay discussing several works from the collection of the Museum of Modern Art in New York City. Two representational works are analyzed - Gustav Klimt?s "Hope II" and Pablo Picasso?s "Girl Before a Mirror". Two abstract works compared and contrasted are Jackson Pollock?s "Full Fathom Five" and Mondrain?s "Broadway Boogie-Woogie". Finally, two sculptural works are compared and contrasted - Rodin?s "Monument to Balzac" and Boccioni?s "Unique Forms of Continuity in Space". A thorough discussion of applicable artistic elements is offered in the paper.
From the Paper
"In observation of Picasso?s Girl Before a Mirror (Marie-Th?r?se Walter) one is struck by an obvious statement being made. The theme of his painting is reflection and seeing beyond what is on the surface. The lines of the bodies are flowing and erotic. The background is geometric and regular except for the startling bright colors. The woman is defined by her sexual components which are exaggerated in bulbous breasts and enlarged wombs. The style is cubism expanded with elements of surrealism infused with color that seems meant to surprise and shock. The use of the reflected image encourages thoughts of how form can change and calls forth questions regarding what constitutes beauty. Depicting female form constructed from circles and lines is in accord with the aims of analytic cubism which stressed the breaking down and analysis of form. The overall effect is more sensual than serious. Questions of inner beauty versus outer beauty may be suggested. The curving lines, bright colors, and rounded erotic shapes suggest harmony and pleasure, reflecting Picasso's delight with his newest love, Marie Th?r?se Walter."
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Modernism and Pop Art, 2003.
A discussion on modernism and the elements of pop art.
1,840 words (approx. 7.4 pages), 6 sources, MLA, $ 63.95
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Abstract
This paper firstly examines the relationship between modernism and minimalism. It then explores the kitsch elements of pop art. In conclusion both art forms are defined and examples of art from each are described.
From the Paper
"Often new schools in the art world arise as a reaction against whatever style was dominant just before it just as Modernism was a reaction to Romanticism. However it is usually the case that the relationship between different dominant artistic style ..."
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Art and the Modern Era, 2002.
This paper talks about defining art as a historical narrative into the 21st century.
1,959 words (approx. 7.8 pages), 7 sources, MLA, $ 62.95
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Abstract
This paper introduces art history and its meaning. It then focuses on modern art and shows that with the introduction of technology, post modern art has broken many boundaries. The paper shows that, in a culture that is enveloped in technology, artists who are a direct reflection of their culture cannot stay away from entering the digital world of art. The paper touches on subjects such as creative advertising, computer animation and computer graphics.
From the Paper
"Art becomes significant because it is able to hold the power to express important things that would most likely remain unstated in any other form of communication. This force of expression is found in the supreme monuments of our time, the icons that represent greatness of modern art works that have been able to continue and triumph over the fashionable animosity that greeted their first appearance. Great art can stand-alone and directly speak to the on-looking viewer, in spite of how we or other writers may choose to explain it."
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Modern British Art, 1990.
Reviews developments in British art since World War II. The Kitchen Sink School, the pop art movement, the St. Ives School and romantic sculpture are all discussed. Special attention is given to David Hockney.
1,125 words (approx. 4.5 pages), 5 sources, $ 39.95
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From the Paper
Great Britain
"The art scene in Great Britain turned more international after World War II, while at the same time the British art scene had a particular relationship with American movements more than with any European movements. Among the important British artists to emerge in this period were Moore, Hepworth, Nicholson, Bacon, Hockney, and Caro. There were also more exhibitions of younger British artists, and work of these artists showed a more international character than had been true before the war.
In the early 1950s, a group of social realist painters emerged under the name the Kitchen Sink School, and they acquired this name by selecting drab and sordid subject matter. The chief exponents of this type of painting were John Bratby..."
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