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Dissertations / Theses on the topic 'Feminism and art Art'
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Wong, See-yuen Gina. "Global feminisms in feminist art and their new challenges." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38697245.
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Wong, See-yuen Gina, and 黃思源. "Global feminisms in feminist art and their new challenges." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38697245.
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Reading, Christina. "Representing melancholy : figurative art and feminism." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/ae432ef0-fe07-4314-b972-11b50495534a.
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Re-presentations of women's melancholic subjectivity by women figurative artists from different historical moments, canonical images of melancholy and theoretical accounts of melancholy are brought together to address the question: 'What aspects of women's experience of melancholy have women figurative artists chosen to represent historically and contemporaneously, and further what is the importance of these artworks for understanding the nature of women's melancholic subjectivity today?
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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.
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Wade, Bussey Sahirah Fatin. "Pre-Service Art Teachers and the Use of Feminist Curriculum and Pedagogy in the Art Classroom." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/18.
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The purpose of this study was to determine answers to several research questions: 1.) What do pre-service teachers know about feminist pedagogy or teaching in ways that are culturally responsive? 2.) In what ways are pre-service teachers prepared to use feminist pedagogy? 3.) How is a lesson constructed utilizing a feminist curriculum? All participating pre-service Art Education students completed a Survey of Art History, a questionnaire of their background in Art History, a questionnaire on their ideas of feminist pedagogy, and completed a group brainstorming of lesson plans. Data was analyzed from student responses. Results support the need for teaching more feminist content and pedagogy. Recommendations are made for further research.
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Eddy, Rebecca L. "A quest for art." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=1185.
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Thesis (M.F.A.)--West Virginia University, 1999.<br>Title from document title page. Document formatted into pages; contains iii, 22 p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
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Chandler, Patricia Elaine. "Aesthetics of healing : joining feminism, autobiography and landscape /." Online version of thesis, 1993. http://hdl.handle.net/1850/11759.
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Bradley, Jessica. "Postmodern bodies and feminist art practice." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.
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This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.
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Horne, Victoria. "History of feminist art history : remaking a discipline and its institutions." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.
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Recognising art’s crucial function for reproducing economic and sexual differences, feminist political interventions - alongside a range of ‘new’ critical perspectives including Marxism, psychoanalysis and poststructuralism - have wrought historic changes upon the production, circulation and consumption of art. This is widely acknowledged in art historical scholarship. However, understanding that ‘art history’ (as a historically conditioned discipline) is concurrently reproductive of these ideological and material inequalities, feminist scholars have significantly and continually sought to intervene at the point of production – the writing of art’s history – to expose its social role and remake the fundamental terms of the discipline. This is a truth less widely acknowledged or, at least, less well-understood within contemporary scholarship. This thesis, therefore, seeks to examine the discipline of art history in Anglo- American contexts to assess the impact that feminist models of scholarship have had upon its knowledges and practices. This is attained through extensive literature overviews, archival research and, to a lesser extent, email interviews with key contributors to the discourse. Ultimately, this examination endeavours to address the production and regulation of feminist knowledge across a number of expanded (and interconnected) institutional sites. Case studies track the impact of feminist strategies upon the authoring of art history in the classroom, within scholarly professional organisations, academic publishing, the museum sector, and upon art-making itself. The research evaluates the mutable power structures of the discipline, how feminist interventions have had success in rethinking the limits of institutional knowledge, and how it may be possible to articulate critique under twenty-first-century conditions of institutional complicity and the hegemonic recuperation (or indeed ‘disciplining’) of radical practices. To date – and despite its prominence within much feminist writing - the importance of art historiography for the feminist political project has not been properly examined; the aim of this thesis is therefore to redress this omission and provide a timely and comprehensive critical reading of feminist knowledge production since around 1970.
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Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.
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This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.
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Chaplain, Josefina. "Gendered visions postcolonial Indian art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31223928.
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Wark, Jayne Marie. "The radical gesture, feminism and performance art in the 1970s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0001/NQ27749.pdf.
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Tan, Eliza. "Yoshiko Shimada : art, feminism and memory in Japan after 1989." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37319/.
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This thesis investigates the intersection of art, feminism and postwar memory in Japan through lens of artist Yoshiko Shimada. Coinciding with unprecedented geopolitical shifts occurring in the final thaw of the Cold War, the year 1989 marks a fraught moment in Japan when spectres of the nation's imperialist past and its historical entanglements acquired renewed potency in the wake of Emperor Hirohito's death. Born in 159, Shimada gained international prominence in the 1990s for her critique of the national body, in particular, the relationship between women and the imperial wartime state. Her work, which unapologetically confronts Japan's WWII aggressions in Asia, its wider histories of occupation, and issues such as the fiercely contested legacies of former 'comfort women' vitally reflects on the social role and agency of art and artist in a climate of political unease emergent at Showa's close. Based on extensive interviews with the artist and research into her primary archive, this is the first comprehensive survey chronicling Shimad;s twenty-five year oeuvre. It situates her practice between two vectors: feminism in Japan and its engagement with Western scholarship, and traces the 1990s 'feminist turn' led by art historians such as Chino Kaori, who began to champion the application of gender perspectives in the study of Japanese art. Within the wider Asian region, the concurrent development of transnational women's art' networks, exhibitions and publications dovetailed with the burgeoning of performance art was protest. As one of the most outspoken feminist art activists of her generation, Shimada has borne key witness to the changing cultural conditions informing women artists' organised activities and the writing of their social histories. This interdisciplinary study incorporates a range of perspectives drawn from art history and gender studies, film and performance theory, memory and trauma studies, Japanese studies and cross-cultural scholarship. It highlights the formal and conceptual interactions between printmaking, performance, installation and lens-based media in Shimada's practice, and demonstrates the plural ways in which her reflexive aesthetics and visual strategies express the tensions and complexities characterising processes of remembering, forgetting and representing the past. By interweaving arguments about the crucial role of feminism in challenging dominant narratives of nation, race, sex and ethnicity, with critical perspectives central to discourse on postmodern Japan, questions are raised concerning the implications of gender, tradition and popular culture for art produced in this age of anxiety. The recent proliferation of problem-oriented, politically engaged practices following the 2011 Great East Japan earthquake and tsunami marks an ostensible 'return to the social' and departure from privileged tropes of 'Japaneseness' in artistic experimentation. Taking this into account, this thesis proposes that revisiting the recent history of feminist art interventions reveals valuable insights into the role of art in understanding and addressing trauma, and engaging marginalised histories and communities. This is exemplified by Shimada's work, which offers a powerful vantage point from which to contemplate art's political inflections, its social potential and the urgency of memory work both in Japan, and in our contemporary societies today.
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Dedic, Aleksandra. "FEMININITY AND FEMINISM IN ART PRACTICES IN SERBIA: 1970-2010." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90503.
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The research subject of this PhD thesis is femininity and feminism in art practices in Serbia: 1970-2010. The study is dedicated to art production of the authors from Serbia taking into consideration both theoretical and practical knowledge and sources. This thesis will contribute to the literature from the domains of art theory and art history of international and Serbian resources primarily because of its multidisciplinary approach. It will also help spreading the knowledge about the topic because it is realized in English as the official language of academic research thus making it material available for future studies outside the borders of Serbia. The theoretical contribution of this thesis addresses issues of construction of femininity in Serbia and analyzes the visual language of artworks relevant for the topic; it also provides an overview of art practices connected to the themes; besides that, it offers an insight into local feminist tendencies. In addition, what is also important is that it supplies interviews realized with the artists as the source for future research and study. Furthermore, theoretical and analytical methods are applied for selection and interpretation of the representative artworks and for the analyses of texts from the various fields of studies. The set objectives in this thesis have been confirmed through research results and their conclusions that underline local specificities on one side and follow general characteristics in art practices in Serbia on the other. Male dominance in patriarchal societies is maintained by cherishing gender stereotypes that are obvious in the dynamics that objectify woman but also in her positioning in the art world. In the domain of anthropological research, even though there are local specificities, it can be said that femininity in art reached the more general, "omnipresent" tendencies in representations of feminine identity. Speaking from the point of view of historical particularities, ideology and politics have actively and continuously participated in the construction of "femininity" (and "masculinity") that reflected on the art production of a more radical, original, and distinct character. As the media are mirroring social relations and gender inequalities, in conjunction with the dominant ideology, also transition and globalization influenced the topics and visual strategies of Serbian artworks.
Keywords: art, femininity, feminism, artwork, art practice, Serbia, performance, visual, image, representation, identity, gender, popular culture, woman, socialism, ideology, stereotypes, mythology, interview<br>El tema de investigación de esta tesis doctoral es la feminidad y el feminismo en las prácticas artísticas en Serbia: 1970-2010. El estudio se dedica a la producción artística de los/as autores/as de Serbia teniendo en cuenta los conocimientos teóricos y prácticos. Esta tesis contribuirá a la literatura del área de conocimiento de la teoría del arte y la historia del arte de los recursos internacionales y serbios principalmente debido a su enfoque multidisciplinario. También ayudará a difundir el conocimiento sobre el tema ya que se realiza en inglés, idioma oficial de la investigación académica, por lo que el resultado estará disponible para futuros estudios más allá de las fronteras de Serbia. La contribución teórica de esta tesis aborda cuestiones de construcción de la feminidad en Serbia y analiza el lenguaje visual de las obras de arte relevantes relacionadas con el tema. Además, ofrece una visión general de las prácticas artísticas que se pueden englobar en el ámbito de estudio, ofreciendo una visión de las tendencias feministas locales. Cabe destacar la parte dedicada a las entrevistas realizadas a las artistas que son un posible punto de partida para futuras investigaciones y estudios. Se han aplicado métodos teóricos y analíticos para la selección e interpretación de las obras representativas y para el análisis de textos de los diferentes campos de estudio. Los objetivos establecidos en esta tesis se han confirmado a través de los resultados de la investigación y sus conclusiones que subrayan las especificidades locales por un lado y siguen las características generales en las prácticas artísticas en Serbia por el otro. La dominación masculina en las sociedades patriarcales se mantiene en los estereotipos de género que son evidentes en la dinámica que objetualiza a la mujer, pero también en su posicionamiento en el mundo del arte. En el campo de la investigación antropológica, aunque existen especificidades locales, se puede decir que la feminidad en el arte encaja con las tendencias más generales, "omnipresentes", en las representaciones de la identidad femenina. Hablando desde el punto de vista de las particularidades históricas, la ideología y la política han participado activa y continuamente en la construcción de la "feminidad" (y "masculinidad") la cual en la producción artística refleja un carácter más radical, original y distinto. Mientras que los medios de comunicación reflejaban y producían también las relaciones sociales y las desigualdades de género, junto con la ideología dominante, lo mismo sucedía con el periodo de transición del comunismo al capitalismo y la globalización que influyeron en los temas y estrategias visuales de las obras de arte serbias.
Palabras claves: arte, feminidad, feminismo, prácticas artísticas, Serbia, performance, visual, imagen, representación, identidad, género, cultura popular, mujer, socialismo, ideología, estereotipos, mitología, entrevista<br>El tema d¿investigació d¿aquesta tesi doctoral és la feminitad i el feminisme en les pràctiques artístiques a Sèrbia: 1970-2010. L¿estudi es dedica a la producció artística dels autors i autores de Serbia tenint en compte els coneixements teòrics i pràctics. Aquesta tesis contribuirà a la literatura de l¿àrea de coneixement de la teoria de l¿art i la història de l¿art dels recursos internacionals i serbis principalment degut al seu enfocament multidisciplinari. També ajudarà a difondre el coneixement sobre el tema tenint en compte que es fa en anglès, idioma oficial de la investigació acadèmica, de manera que el resultat estarà disponible per a futurs estudis més enllà de les fronteres de Sèrbia. La contribució teòrica d¿aquesta tesi aborda questions de construcció de la feminitat a Sèrbia i analitza el llenguatge visual de les obres d¿art rellevants relacionades amb el tema. A més, ofereix una visió general de les pràctiques artístiques que es poden englobar en l¿àmbit d¿estudi, oferint una visió de les tendències feministes locals. Cal destacar la part dedicada a les entrevistes realitzades a les artistes que són un possible punt de partida per a futures investigacions i estudis. S¿han aplicat mètodes teòrics i analítics per a la selecció i interpretació de les obres representatives i per a l¿ anàlisi de textos dels diferents camps d¿estudi. Els objetius establerts en aquesta tesis s¿han confirmat mitjançant els resultats de la investigació i les seues conclusions que subratllen les especificitats locals per una banda i segueixen les característiques generals en les pràctiques artístiques en Sèrbia per una altra. La dominació masculina en les societats patriarcals es manté en els estereotips de gènere que són palesos en la dinàmica que objectualitza a la dona, però també en el seu posicionamient al món de l¿art. En el camp de la investigació antropològica, tot i que existeixen especificitats locals, es pot dir que la feminitat en l¿art encaixa amb les tendències més generals, "omnipresents", en les representacions de la identitat femenina. Parlant des de el puntde vista de las particularitats històriques, la ideologia i la política han participat activa i continuament en la construcció de la "feminitat" (y "masculinitat") la qual cosa reflecteix en la producció artística un tarannà més radical, original i diferent. Mentre que els mitjans de comunicació reflectien i produïen también les relacions socials i les desigualtats de gènere, junt amb la ideologia dominant, el mateix succeïa amb el periode de transició del comunisme al capitalisme i la globalització que varen influir en els temes i estrategies visuals de les obres d¿arte serbi.
Paraules clau: art, feminitat, feminisme, práctiques artístiques, Sèrbia, performance, visual, imatge, representació, identitad, gènere, cultura popular, dona, socialisme, ideologia, estereotips, mitologia, entrevista<br>Dedic, A. (2017). FEMININITY AND FEMINISM IN ART PRACTICES IN SERBIA: 1970-2010 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90503<br>TESIS
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Mantzari, Despoina. "Women directors in 'global' art cinema : negotiating feminism and representation." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/48685/.
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The thesis explores the cultural field of global art cinema as a potential space for the inscription of female authorship and feminist issues. Despite their active involvement in filmmaking, traditionally women directors have not been centralised in scholarship on art cinema. Filmmakers such as Germaine Dulac, Agnès Varda and Sally Potter, for instance, have produced significant cinematic oeuvres but due to the field's continuing phallocentricity, they have not enjoyed the critical acclaim of their male peers. Feminist scholarship has focused mainly on the study of Hollywood and although some scholars have foregrounded the work of female filmmakers in non-Hollywood contexts, the relationship between art cinema and women filmmakers has not been adequately explored. The thesis addresses this gap by focusing on art cinema. It argues that art cinema maintains a precarious balance between two contradictory positions; as a route into filmmaking for women directors allowing for political expressivity, with its emphasis on artistic freedom which creates a space for non-dominant and potentially subversive representations and themes, and as another hostile universe given its more elitist and auteurist orientation. The thesis adopts a case study approach, looking at a number of contemporary art films from diverse socio-political contexts. It thus provides a comprehensive account of how women are positioned within art cinema as subjects and as filmmakers. The thesis uses a social historical approach in looking at the texts as well as the contexts these texts operate within. In analysing how female directors voice feminist concerns through a negotiation of political and artistic preoccupations, the thesis aims to reclaim art cinema as a cultural field that brings the marginal closer to the mainstream and thus functions for feminism as the site of productive ideological dialogue.
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Batorowicz, Beata Agnieszka, and n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship." Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.
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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art historys patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Ackerman, Amanda K. "Victor Burgin's "Gradiva": Feminism, Antiquity, and Conceptualism." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470672257.
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Laurentiis, Gabriela Barzaghi De 1987. "Louise Bourgeois e os modos feministas de criar." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279680.
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Orientador: Luzia Margareth Rago<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-27T13:44:06Z (GMT). No. of bitstreams: 1
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Previous issue date: 2015<br>Resumo: Esta dissertação aborda a produção artística de Louise Bourgeois, focando as formas corporais trazidas em suas obras. Trata-se de perceber como sua arte possibilita elaborar críticas ao modelo falogocêntrico do feminino e, simultaneamente, abre possibilidades para a criação de formas múltiplas das subjetividades das mulheres. A produção de sentidos para as obras é realizada a partir de uma orientação teórica e metodológica feminista e pós estruturalista, apresentada, principalmente, nos escritos de Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago e Michelle Perrot<br>Abstract: This research addresses the artistic production of Louise Bourgeois, focusing on the corporal forms expressed in in her pieces. It pertains the perception of how her art enables the possibility to criticize the phallogocentric model of feminine and, simultaneously, allows the creation of multiple forms on the women subjectivity. The production of meanings for her works is accomplished trough a theoretical and methodological feminist and post structuralist orientation, presented, mainly, in the writings of Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago and Michelle Perrot<br>Mestrado<br>Historia Cultural<br>Mestra em História
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Vickery, Veronica. "Fractured earth : unsettled landscape through art practice." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/25237.
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This thesis brings feminist ontologies into a renewed dialogue with post-phenomenological landscape studies through the development of a critical arts-research practice. Contemporary landscape scholarship in cultural geography foregrounds landscaping practices as performative; visual culture studies, similarly influenced by phenomenology, critiques the powerful fixings of representation; whilst current commentaries on art-geographies focus on questions of interdisciplinarity, rather than the potential for art practice-as-research to be generative of politically complex cultural geographies. Landscape, replete with complex power geometries and tension, both resists fixing and framing, and also becomes defined or imaged by these same operations. My goal in this thesis is to find a way of working, as an artist, with an understanding of landscape as being continually in eventful—and sometimes violently eventful—process, beyond conventional framings of image and landscape. Initially, this art practice (undertaken as research within cultural geography) worked with a violent flash flood and resultant loss of life, and was set against the backdrop of picture-postcard West Cornwall. Whilst focused through practice on this usually trickling mile-long moorland stream, something happened. This research became infected by concurrent geo-political events. Through practice in the studio, the violent lifeworld of the stream collided with an activist project associated with the 2014 Gaza conflict. Land and image became both occupied and ghosted. This corporeal and material collision of practice(s) afforded a productive entanglement of practice and theoretical engagement. My search for a way of working with landscape as an artist that accounts for the unpalatable dimensions of material formations, for the dying within living, for the exclusions, subjugation, violence, or even extinctions of landscape—led me to realise that I cannot stand back innocently and safely behind the camera, outside of the frame. I propose that landscape is inherently violent, and that as such, landscaping practices are always politically differentiated and situated. It is a violence in which there can be no innocent place of on-looking; we are all mutually implicated in landscape and landscaping-practices, and indeed, the ghosts of our own vulnerabilities are never far away. The thesis demonstrates that the unpredictability and riskiness of researching through a critical arts practice, can produce the conditions for disruptive interventions generative of new ways of (body)knowing in the world. These ways of knowing serve to confront the violence and contradictions of a fast changing enviro/geopolitical landscape. Working from within an art practice—as geographical research—contributes a perspective of political complexity and generative encounter, in which unexpected collisions, between things, practices, and bodies function to produce spatial connections beyond contemporary analysis.
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Packer, Carolyn E. "The Evolution of Craft in Contemporary Feminist Art." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
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Bonner, Sarah. "Fairy tales and feminism in contemporary visual art and popular culture." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518484.
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Johnson, Clare. "Textures of femininity : Temporality, feminism and gereration in contemporary Women's art." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525339.
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Lauritis, Beth Anne. "Lucy Lippard and the provisional exhibition intersections of conceptual art and feminism, 1970-1980 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925733141&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Nutile, Alexa. "(Dis)connections." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1402.
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This paper is a conceptual, theoretical, and methodological exploration of my MFA thesis project (Dis)connections. My work combines time-based media, objects, and performance into a single installation that represents my struggles with anxiety and my desire to connect with people socially. My work is ultimately about the complexity of the structures of language and communication in all their forms and representations. I draw on research into feminist theory and gender studies as well as cultural theory as a way to ground my work in political and social issues that are continually relevant in Western culture, and to propose that by situating my stories within larger structures of power they have the ability to connect to a wider group of people.
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Turner, Sharon Kay Richey. "Bigger God, stronger women helping women expand their God imagery through art /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p075-0072.
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Murray, K. M. "The use of abstract and figurative images to evoke emotive qualities characteristic of women's sexuality /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.151911/index.html.
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Dortch, Jamie. "Kaethe Kollwitz women's art, working-class agitation, and maternal feminism in the Weimar Republic /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-103433/.
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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Joseph Perry, committee chair. Electronic text (90 p. : ill.) : digital PDF file. Description based on contents viewed May 1, 2007. Includes bibliographical references. Includes bibliographical references (p. 72-75).
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Lee, Kara. "The Textuality of the Body: Orlan's Performance as Subversive Act." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/31365.
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In this paper, I argue that the performance artist Orlan uses feminist tactics of subversion in her presentation of the body as art. I enter the feminist debate over Orlan's work to indicate that the critics who consider the history of performance art produce more fecund discourse. At the same time, I encourage more discussion over the racial dimensions of Orlan's art, which I describe as de-colonizing her body's representation.<br>Master of Arts
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Niles, Krista Joy. "An Arranged Deconstruction: The Feminist Art Practice of Louise Lawler." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/565894.
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The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler's work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler's dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images that "document" art objects in situ. She has made her art in all the places in which artworks circulate or are displayed, be it the curated spaces of museums, an auction house or a private house, well-lit gallery show room walls or crowded and dark storage rooms. Throughout her forty-year career Lawler has worked to disrupt the patriarchy of the art world by drawing attention to philosophies of display and exhibition. She has shown us what is not on display within art systems by consistently showing us what is on display. She has refused to comply with systems or organization, crafting textual interventions that disrupt the linguistics of wall labels and titles of artworks. She has fragmented and dislocated the authorship of artists to their works, and she has appropriated curatorial practices to claim both the physical spaces of display and gain control of what objects are deemed valuable enough to be shown there. Lawler's work has consistently interrupted normative practices of art institutions, effectively disrupting the patriarchy inherent within the systems and structures to define art.
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Baert, Renee. "Poetics of the body in feminist art : three modalities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0022/NQ29882.pdf.
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Triandos, Theodoros I. "The art of Deborah Kass the "appropriate" representation of the self /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 124 p, 2009. http://proquest.umi.com/pqdweb?did=1674956901&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Goldbeck, Justina. "Beauty is in the eye of she who holds it." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1173.
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Justina Goldbeck
Artist Statement
My work explores themes of supernatural alternate universes and humans interaction with nature. Using the medium of photography I strive to create impossible realities, juxtaposing the real and the imagined. My work portrays mystical women interacting with surreal environments and seeks to portray the simple act of existing nature as a magical and spiritual experience.
As a female artist my work has often been criticized for being too beautiful and for this reason, void of substance. I believe that beauty has inherent value and goodness. My photos celebrate the beauty of female strength and the unmarred landscape. The mirror to me represents negative stereotypes of superficiality attributed to women female created art. Male painters and photographers thought history have become famous for portraying the passive female form. However, selfies or other images taken of women and by women are considered exercises in vanity. This series seeks to challenge that narrative.
The mirrors in my images add depth to the piece, showing a perspective one would not see otherwise. In most images the mirrors obscure the subject and reflect the environment she is in, uniting women with nature, and revealing something deeper within the subject. Photographs are taken far away from civilization and are not preplanned and are constructed without the use of elaborate technology. My practice is rooted in exploring, discovering new landscapes and new ways to photograph them. My work is notably not manipulated in photoshop. All of the seemingly impossible elements of the pieces are created in camera using mirrors and strategically placed colored camping lights. This lack of manipulation is intended to challenge the idea that images reflect unadulterated reality. It is also to contradict the idea that anything impossible must be photoshopped.
My work is influenced by magical realism as well as surrealist photography. As a female photographer working with female subjects it is important to me to escape the traditional relationship between active artist and passive subject. Each photo I take is a collaboration with my female subject as well as a collaboration with nature. Through my photos I seek to emphasize a non objectified female form as she interacts with nature and portray my subject as a magnetic and powerful force uniting in spirit with her natural environment.
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Bellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.
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Art History<br>M.A.<br>This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.<br>Temple University--Theses
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Prociv, Patricia Mary. "Personal identity and the image-based culture of Catholicism." View thesis View thesis, 2000. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030520.145146/index.html.
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Close, Jennifer M., and n/a. "A Feminist Understanding of Liturgical Art." Griffith University. School of Theology, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060301.141353.
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Among church folk in Australia today, there are concerns that soon ? with the surge of secularism in our society ? there will be no Christian tradition left for their children to inherit. At the same time, there is also a rising desire for spiritual renewal among Australians. It seems that the church and society are worlds apart. It is my contention that feminist liturgical artists are in a unique position to bridge the gap between the church and the world, and to promote the spiritual renewal of both. My task in this thesis is to devise a feminist model of liturgical art practice which is both aesthetic and prophetic. In this model, liturgical art is capable both of inspiring people to contemplate divine meanings and of calling the people to discipleship in the service of God in the world. It is also able both to encourage hope and challenge injustices. A balanced approach to the aesthetic and prophetic is suggested in Elisabeth Schüssler Fiorenza's (1992) four-step model of feminist research, which shapes my project. The principles which form the framework of my feminist understanding of liturgical art are widely applicable, and do not just apply to women. Even so, I maintain that women are more gifted than men at understanding the world in terms of relations rather than hierarchies. In the Catholic church today, we need this sense of relation more than ever. The church needs to be in creative relation with contemporary culture, or we are going to lose the young people from our ranks, and consequently our future. Within the church, the hierarchy needs to be in creative relation with the laity, and this requires a more collaborative approach to leadership ? including ministry. Within the liturgical environment, the church needs images which are able to draw heaven and earth into creative relation. These inclusive and holistic ideas are basic to a feminist practice of liturgical art as I describe it in this project. To demonstrate what such a practice might look like, I use examples from my own liturgical artwork. I aim to show how theory/theology and practice are inextricably interrelated in a feminist practice of liturgical art, and that practice precedes theory/theology, and that theory/theology leads to renewed practice. This has certainly been my experience while writing this thesis. The model of feminist liturgical art practice, which I formulate in this thesis, is postmodern. The largest theoretical challenge for me in this project was to come to terms with beauty theory, a conceptual framework which underpinned modernist art theory. By training and by inclination, I am disinclined to favour an art theory in which the highest value is beauty. Beauty theory was significantly deconstructed in the artworld in the 20th century and the new understandings of beauty arising today show the signs of paradigm shift. In the case of beauty theology, however, nothing comparable has caused theologians to significantly refigure their core value. Coming to terms with beauty theology was my largest theological challenge. My solution in both cases was to enlarge the category of beauty by adding ugliness. I call this category 'beautiful ugliness' (Boyd 1960, 200). However, 'beautiful ugliness' is not the focus of my aesthetic approach. I use 'life' as the core value. Into the mix of feminist postmodern art theory/theology, I add some elements of classical American pragmatism. In a pragmatic frame, ideas need to be tested out in the realities of everyday life. In line with my chosen core value, I use the terms life-relevant and life-enhancing (Miles 1985, 6) as criteria for testing the value of liturgical art. This project represents my attempt to draw a picture of what a feminist, postmodern, pragmatic, aesthetic/prophetic practice of liturgical art might look like in 21st century Australia. My hope is that there are other women and men artists, like myself, who work with 'passionate purpose' (Alexander 1933, 53) - driven by their faith in God; by their fidelity to the Christian tradition; by a desire to imaginatively explore, express and stretch the boundaries of that tradition; and by a powerful sense of place-connection and of community-belonging ? who will find this model useful and perhaps inspiring.
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Lindner, Stacie M. "Janine Antoni finding a room of her own /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12012006-133229/.
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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Susan Richmond, committee chair; Nancy Floyd, Maria P. Gindhart, committee members. Electronic text (127 p. : iil. (mostly col.)) : digital, PDF file. Description based on contents viewed June 20, 2007. Includes bibliographical references (p. 121-127).
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Mantecon, Laurie. "Feminine Rhyme." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5220.
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'Feminine Rhyme' is a sequence of objects and paintings that resonate with women's experience in contemporary culture. The components I have used are: the structure of the grid, aggressive surface handling, and language derived from text. I have reconfigured these elements to direct the viewer in exploring layers of information that can be viewed in fragments as well as understood within the containment of a sound whole. I have explored the relationship of gender identity in our culture, and the role women play in association to masculine power. Through repetitive use of the grid, combined with isolated words and images, I have created paintings that can be read either in a formal manner through the use of structure and materials that are visually pleasing, or in context to a visual dialogue of contemporary gender myths. By fragmenting text in the form of torn book pages, I have altered and personalized the order, lending weight to chaos. Words become a form of mark making, a lyrical device to be read at random. I have obscured the imagery by hiding the text, leaving only scattered bits of information. These bits are derived from a 'therapeutic model' found in self help books, diet books and romance novels which exploit "feminism" as a commodity, serve as cultural documents, and influence women as to how they should perceive their bodies, their minds, their freedom. The end result is a visual interplay of form and color within the context of personal testimony and societal conditioning of the female experience in contemporary culture.
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Amano, Fumi. "Re-exploring my identity as a Japanese woman." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4846.
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This document contains reflections on my motivations and the personal decisions made in the realization of selected works leading up to and including my thesis exhibition "Voice". The following text shares the many and varied connections between my life and art-making. My issues in my personal relationships with others has spilled out from my heart and turned into these works. I'm continuously expressing the unsuccessful attempts we make at developing true bonds that bridge the gaps between people.
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Goldman, Saundra Louise. ""Too good lookin' to be smart" : beauty, performance, and the art of Hannah Wilke /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Ward, Margaret Siobhan. "A Mother's Grief: Kathe Kollwitz Descends into the Marginalized." Thesis, Boston College, 2004. http://hdl.handle.net/2345/450.
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Thesis advisor: Susan A. Michalczyk<br>Käthe Kollwitz (1867-1945) was a progressive artist who used art as a cathartic means to live through the death of her son in WWI and grandson in WWII. Trapped in the sexist generation of early 20th century Germany, Käthe defied the society in which she lived to create art that served as an empathetic mouthpiece for society's marginalized. She created thousands of lithographs and hundreds of sculptures depicting war, death, and poverty. Käthe found beauty in the struggle of the working class and constantly used her physician husband's patients as subjects of her work. As she continued into the socialist realm, she made enemies with German leaders, including Adolph Hitler. Her work fiercely rejected Germany's involvement in World War I and condemned Hitler's Third Reich near the onset of World War II. Käthe's use of bleak colors and disturbing subject matter penetrates the viewer's comfort zone. The viewer is unable to turn away from her work without feeling guilt, and is forever haunted by her prudent recognition of truth<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: College Honors Program
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Schoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.
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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.
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Parry, Caroline. "The Abramović Method: The Performance Art of Marina Abramović, 2010 to Present." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19296.
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This thesis examines the performance art of Serbian artist Marina Abramović from 2010 to today following her emergence into mainstream media with the success of her performance The Artist Is Present (2010). This thesis investigates Abramović’s approach to performance and how the roles of artist and viewer change in face of increased fame, documentation, and age. The thesis argues that as Abramović ages, she is becoming increasingly preoccupied with her fame and with securing her legacy and that this concern is reflected by her increased documentation and self-promotion, as well as her interest in transitioning into the role of teacher rather than artist. This thesis ends with an optimistic look at the opening of The Marina Abramović Institute in late 2015 as a new type of institute in which Abramović's presence and legacy will be mediated not through the static and limited representation of photographs and relics but by the experiences and actions of the visitors themselves.
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Gunhee, Kim. "Betweenness. La política entre el arte y la vida: análisis de las obras que crean un debate sobre el feminismo." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/670810.
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Este estudio nace de la preocupación feminista por la violencia de género, la pobreza y las asimetrías de presión política sobre las sociedades. La relación entre Arte y sociedad es un hecho que impregna la realidad artística contemporánea con especial vindicación en el feminismo, que ha ido señalando otros valores éticos diferenciales, un ejemplo de ello sería: la solidaridad, como motor de cambio en su objetivo de denuncia y reparación.
Esta investigación comenzó con la creencia de que el arte puede hacer algo por la sociedad y con la preocupación de que el arte no puede hacer nada. La pregunta de “¿El arte nos salva de algo?” conduce a un largo recuestionamiento cuyas respuestas se hilvanan a partir de propuestas y producciones que crearon y produjeron debates sobre el feminismo, en el contexto coreano y europeo. En consecuencia, los trabajos de esta investi- gación se concentran en qué tipo de actitud y posición particular tuvieron y tienen las/os artistas. Para ello se presentan una serie de ejemplos en los que el proceso artístico se convierte en el resultado en una obra de arte, al demostrar la propia política que el artista desarrolla como trabajador del arte, en lugar de dar prioridad a una actitud política ideológica para la producción de la obra. En otras palabras, examinamos que la política de las/os artistas no es la única que puede hacer arte, y esta observación supone que ofrece y da la libertad de ampliar el concepto de identidad de un artista y de cómo ser artista hoy. Al mismo tiempo, se refiere al proceso de mostrar y repensar los limites en el arte, específicamente el límite entre el arte como praxis y el rol de las/os artistas en la sociedad en la que vivimos. En conclusión, el estudio de “Betweenness” es una reflexión del papel político que tienen las/os artistas desde perspectivas no solo feministas sino femeninas. El discurso está estructurado por seis obras que crean interrogantes y abren un debate sobre el feminismo entre ellas y fuera de ellas, y nos permiten pensar sobre como la política de la vida se convierte en arte.<br>This study was born out of feminist concern about gender-based violence, poverty and asymmetries of political pressure on societies. The relationship between art and society is a fact that permeates contemporary artistic reality, with special vindication in feminism, which has been pointing out other differential ethical values, an example of which would be: solidarity, as a motor of change in its objective of denouncing and repairing.
This investigation began with the belief that art can do something for society and with the concern that art can do nothing. The question of “Does art save us from anything” leads to a long reexamination whose answers are threaded through proposals and productions that created debates on feminism, both in the Korean and European context. Consequently, this study concentrates on what kind of attitude and particular position the artists had and have. To this end, a series of examples are presented in which the artistic process becomes the result of a work of art by demonstrating the very politics that the artist develops as an art worker, instead of giving priority to a political ideological attitude for the production of the work. In other words, we examine that the politics of artists is not the only one that can make art, and this observation assumes that it offers the freedom to broaden the concept of an artist’s identity and how to be an artist today. At the same time, it refers to the process of showing and rethinking the boundaries in art, specifically the boundary between art as practice and the role of artists in the society we live in. In conclusion, the study of “Betweenness” is a reflection on the political role of artists from not only feminist but also female perspectives. The discourse is structured by six works that create questions and open a debate about feminism among themselves and outside of them, and allow us to think about how the politics of life becomes art.
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Lloyd, Sharni, and mikewood@deakin edu au. "Exploratory surgery of the female psyche." Deakin University, 1996. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051111.115947.
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The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is feminine authority, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society.
Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following;
Explore their own psychology beyond the existing socially constructed gender roles.
Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes.
Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science.
Archetypal myths of the feminine have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, Individuation is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The true feminine is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority.
This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her.
Western epistemology, with its emphasis on objective investigation and empiricism contributes to the support for and promotion of inferior female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view.
Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for truth and absolute can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure.
Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment.
Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to eve and the siren. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the feminine aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess.
The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings.
Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian.
The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices
and technique while making reference to imagery from previous works, The Three Graces Victorious, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated.
Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed.
To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his Four Seasons series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys.
Although The Three Graces Victorious; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.
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Strahl, Lisa Beth. "Gender Construction and Manifestation in the Art of Elaine de Kooning." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/44952.
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Art History<br>Ph.D.<br>As a woman whose career lifted off during the era of Abstract Expressionism, Elaine de Kooning is precariously positioned between her gender and her career. She began painting in the midst of a male-dominated movement and in later years continued to use very masculine themes in her art; however, her gender sets her apart from her mostly male colleagues during the Abstract Expressionist period. The mid-century expectation of machismo and masculinity shaped Elaine de Kooning’s art and career, and there is a tension within her art as she tried to fit the established (male) persona of the typical Abstract Expressionist artist while also maintaining a female identity. As the wife of Willem de Kooning, Elaine is most often discussed with respect to this relationship. Her name is infrequently mentioned in scholarship without reference to Willem, and her contribution to art history has only recently been studied in any length in Jane Bledsoe’s Elaine de Kooning (1992) and in a series of smaller gallery publications. Furthermore, Elaine has become recognized
and respected, in some cases, more for her critical writings for Art News during the 1950s and 1960s than for her art. She was an artist turned art critic, and this crossover has further complicated the scholarly attention devoted to her. Elaine consistently revisited male-inspired subject matter: in her portraiture she painted predominantly male sitters; in her cave painting-inspired work she reflected a society of primitive male hunters; in her series of sports paintings she depicted male basketball and baseball players in dynamic postures; in her Bacchus series she investigated a male god and the vitality of the statue’s writhing male musculature; and in her bull and bison series she worked with the clichéd animalistic symbol of masculine strength and virility. These subjects, combined with the ejaculatory style of Abstract Expressionism’s loose brushwork and vibrant swirling colors, provide a unique contrast to the artist, herself, as a female personality.<br>Temple University--Theses
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Hall, Nancy. "Personal drawings as a political statement." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724955.
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This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist.<br>Department of Art
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Antoniadou, Alexandra. "Realisations of performance in contemporary Greek art." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31283.
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This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investigating their connection with wider socio-political and economic developments. The thesis should not be read as a survey, despite being the first book-length analysis of Greek performance art in both English and Greek. The material included here has been selective (drawn out of years of field research) and yet presents, and represents, the spectrum of themes and positions making up the history of performance art in Greece. My contention is that the rise and establishment of performance art in Greece reflected both the political ferment of the time (early 1970s) and an enquiry into the possibility of flight from traditional media. The dual aim of this study is, first, to facilitate and encourage the integration of performance art in a revised Greek art history; and, second, to contribute to an expansion of performance art histories in an international context through the negotiation of hitherto unknown material synthesised in a study of adequate length. This thesis has required large-scale in situ research and overcoming the major obstacle of the absence of relevant publicly held archives. This was one reason why even an elementary linear history of performance art had been such an overwhelming task in the past; a second reason is the overall marginalisation of performance art theory in the Greek context. Through the Greek paradigm, the thesis illuminates new aspects not only of performance but also of post-performative participatory practices, engaging new conceptualisations. By identifying fundamental issues in the production, dissemination, and reception of performance art in Greece, I provide a critical analysis not only of its achievements and potential but also of its impasses and failures. My intention in undertaking this research has been to disprove the notion - implied or stated as a matter of fact in histories of contemporary Greek art - that performance art has had only a sporadic and inconsistent presence in this 'periphery' scene. I argue that the artists investigated in this study are conclusively part of the history of performance in the 20th and 21th centuries, thereby setting the terms and calling for further research on the subject.
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Photiou, Maria. "Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.
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This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.
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Lavigne, Julie. "L'art féministe et la traversée de la pornographie : érotisme et intersubjectivité chez Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85181.
Full textAbstract:
The increasing importance of pornography since its commercialization at the end of the seventies modified the artistic landscape of sexual representation. What has occurred is a transformation of the horizon of expectations of pornographic images, the definition of eroticism and the relationship between the two notions. In this perspective, the thesis concentrates on the analysis of the appropriation of certain distinct traits of hard core pornography in feminist art. Specifically, it is a qualitative analysis of the interrelations between eroticism and pornography in feminist art during the 1980s. The thesis proceeds to an in-depth analysis of several works by Pipilotti Rist, Annie Sprinkle, and Marlene Dumas as well as adding three earlier works of sexually explicit representation by Carolee Schneemann. The analysis of these works aims to redefine notions of pornography and eroticism, drawing on the work of Linda Williams for the first definition and Georges Bataille for the second. The theoretical context of the thesis, which also turns out to be the historical context of the works, is made up of disciplinary approaches that have most contributed to the debate around eroticism and pornography: art history, philosophy, feminist studies, queer theory, semiology and psychoanalysis.<br>The thesis makes several conclusions. First, the dynamic between eroticism and pornography does not have to be considered oppositional; the two methods of expression are frequently both represented in the same work. Also, women are no longer uniquely victims of pornography (they are increasingly in the role of pornographic auteure) and the analysis of these works confirms that feminists have appropriated the genre to explore a diversity of female eroticisms and propose a form of feminist, intersubjective pornography. Finally, the use by female artists of syntaxes and features typical of pornography helps to bring about a demand for a more complete and complex female subjectivity which is no longer only political, but also sexual.
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Arp, Mary. "Global housekeepers /." Online version of thesis, 1993. http://hdl.handle.net/1850/12154.
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