Relevant bibliographies by topics / Women artists

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Women artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Women artists"

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Lewis, Mary Tompkins, and Tamar Garb. "Women Artists." Art Journal 53, no. 3 (1994): 90. http://dx.doi.org/10.2307/777446.

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Kahn, Ariel. "Graphic Women Artists." Jewish Quarterly 64, no. 2 (2017): 69–71. http://dx.doi.org/10.1080/0449010x.2017.1333742.

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Weil, Harry J. "Great Women Artists." Afterimage 38, no. 1 (2010): 14–18. http://dx.doi.org/10.1525/aft.2010.38.1.14.

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Qureshi, Irna, and Naiza Khan. "Women artists and male artisans in South Asia." South Asian Popular Culture 9, no. 1 (2011): 81–88. http://dx.doi.org/10.1080/14746689.2011.553892.

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Behiery, Valerie. "Muslim Women Visual Artist’ Online Organizations." HAWWA 13, no. 3 (2015): 297–322. http://dx.doi.org/10.1163/15692086-12341284.

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This study examines two American online organizations established as networks of support for Muslim women artists: Muslim Women in the Arts (mwia) and the International Muslimah Artists’ Network (iman). While the broader context is to explore the intersections of three important identity markers, namely, gender (woman), occupation (artist) and religion (Muslim) often overlooked in identity theory (Peek 2005), the more specific aim is to probe the effects of these digital culturescapes on Muslim women’s artistic agency and success. The data collected from interviews with member artists confirm
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Board, Marilynn Lincoln, and Katy Deepwell. "Women Artists and Modernism." Woman's Art Journal 21, no. 2 (2000): 53. http://dx.doi.org/10.2307/1358754.

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Rice, Robin, Jan Marsh, and Pamela Gerrish Nunn. "Pre-Raphaelite Women Artists." Woman's Art Journal 21, no. 1 (2000): 56. http://dx.doi.org/10.2307/1358877.

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Rubinstein, Charlotte Streifer, and Eleanor Munro. "Originals: American Women Artists." Woman's Art Journal 22, no. 2 (2001): 54. http://dx.doi.org/10.2307/1358908.

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Casteras, Susan P., Jan Marsh, Pamela Gerrish Nunn, and National Gallery of Art. "Pre-Raphaelite Women Artists." Art Bulletin 80, no. 4 (1998): 750. http://dx.doi.org/10.2307/3051324.

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Anderson, Heather. "Making Women Artists Visible." Art Education 45, no. 2 (1992): 14. http://dx.doi.org/10.2307/3193321.

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Dissertations / Theses on the topic "Women artists"

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Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life
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McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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Mantooth, Jennifer R. "Muse as artist : selected artists past and present /." Online version of thesis, 1992. http://hdl.handle.net/1850/11227.

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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /." Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.

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McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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Addison, Rosemary Catharine. "Women artists and book illustration in Edinburgh, 1886-1945." Thesis, Heriot-Watt University, 2004. http://hdl.handle.net/1842/26313.

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This thesis documents a range of visual and textual records of women artists and illustrators in Edinburgh (1886-1945). It considers how women trained and applied skills to illustrate unique and multiple images for Edinburgh's printing and publishing houses. Research by Dr Elizabeth Cumming into the Arts and Crafts Movement in Edinburgh, studies by Professor Janice Helland of Professional Women Artists in Scotland and work by Professor Sian Reynolds into the cultural industries in Edinburgh, provide fundamental models of enquiry into women's occupations in this period. The following chapters d
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McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.

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Lewis, Joanne Rebecca. "Women artists in Botswana in the late 20th century." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.

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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions in
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Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.

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Low, Yvonne Yanmei. "Women Artists: Becoming Professional in Singapore, Malaya and Indonesia." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13843.

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This is a woman-centred study that examines women’s art: art which had enabled women artists to become professionals in a male-dominated art world, at specific historical moments of present day Singapore, Malaysia and Indonesia. This thesis argues for the need to re-evaluate women’s contributions in nationalist and modernist art discourses, so as to include perspectives of women’s creative and intellectual developments in what were undeniably male-dominated professional spheres. Although the issues of gender disparity and women’s absence in history are not in itself new, they remain prevalent
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Books on the topic "Women artists"

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Pigorini, Museo preistorico-etnografico Luigi, ed. Women in charge: Artiste Inuit contemporanee = Inuit contemporary women artists = artistes Iunuit contemporaines. Officina libraria, 2011.

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Atagok, Tomur. Contemporary women artists. Ministry of Culture, 1993.

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Beckett, Wendy. Contemporary women artists. Universe Books, 1988.

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Bunzl, Biddy. Three women artists. New Academy Gallery, 1990.

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Foster, Alicia. Tate women artists. Tate, 2004.

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1965-, Hillstrom Laurie Collier, and Hillstrom Kevin 1963-, eds. Contemporary women artists. St. James Press, 1999.

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Beckett, Wendy. Contemporary women artists. Phaidon, 1988.

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Russell, Ash, ed. Great women artists. Chronicle Books, 1991.

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Dinah, Dysart, and Fink Hannah, eds. Asian women artists. Distributed in Australia by Craftsman House in association with G+B Arts International, 1996.

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Zin, Khin Mya. Myanmar women artists. Ye Aung Sarpay, 2009.

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Book chapters on the topic "Women artists"

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Engel, Laura. "Women Artists, Silhouettes, and Waxworks." In Women, Performance and the Material of Memory. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58932-3_5.

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Rochester, Emma. "Women Pilgrimage Artists and Their Lineages." In Women and Pilgrimage. CABI, 2022. http://dx.doi.org/10.1079/9781789249392.0008.

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Yu, Mengting. "Women Artists and English Exhibiting Societies." In London’s Women Artists, 1900-1914. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_4.

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Yu, Mengting. "Introduction." In London’s Women Artists, 1900-1914. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_1.

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Yu, Mengting. "Women Artists at the Slade School of Fine Art in Edwardian London, 1901–1910." In London’s Women Artists, 1900-1914. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_2.

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Yu, Mengting. "Women Artists at the Slade School of Fine Art in the Pre-war London, 1910–1914." In London’s Women Artists, 1900-1914. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_3.

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Yu, Mengting. "Women Artists and the Rhythm Magazine, London 1911–1913." In London’s Women Artists, 1900-1914. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_5.

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Yu, Mengting. "Women’s International Art Club: Inclusivity, Diversity and Femininity, 1900–1914." In London’s Women Artists, 1900-1914. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_6.

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"Women Artists." In Literary Sisterhoods. McGill-Queen's University Press, 2005. http://dx.doi.org/10.1515/9780773572423-001.

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"Women Artists:." In Art on My Mind. The New Press, 2025. https://doi.org/10.2307/jj.28799907.18.

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Conference papers on the topic "Women artists"

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Askarova, Zilolakhon, Asalkhon Rakhmatullaeva, Khurshida Khaitbabaeva, and Feruza Kabilova. "Artistic Expression of the Image of Women in Ancient and Medieval Art in Central Asia." In The Second Pamir Transboundary Conference for Sustainable Societies- | PAMIR. SCITEPRESS - Science and Technology Publications, 2023. https://doi.org/10.5220/0012974200003882.

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Corda, Dijana Nazor, Jana Ziljak Grsic, and Helena Bacinger Skrlec. "CREATING AN ARTISTIC WOOL RUG WITH A DOUBLE IMAGE IN THE VISUAL AND NEAR-INFRARED SPECTRA." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs10.19.

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Years of research (since 2014) of the properties of colour twins based on InfraredArt theory the recording in the visible (V) and near-infrared (NIR) spectra, allowed the image to be depicted in two spectral ranges. Continued work in the field of InfraredArt painting led to the idea in 2022 of applying this artistic method to creating an artistic wool rug with a double (dual) image. This was made possible through collaboration with designers and technologists at the company reGalerija in Zabok. After numerous attempts, black pigments were found that allowed a hidden image to be created in the
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Akopyan, A. O., and L. A. Kulagina. "Functional Preparedness of Women-Martial Artists." In Proceedings of the First International Volga Region Conference on Economics, Humanities and Sports (FICEHS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.200114.204.

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Narayanan, Vasanth. "The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-24.

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Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.
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Adriati, Ira, and Almira Zainsjah. "Analysis of the Aesthetic Value of Video Art by Indonesian Women Artists." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338080.

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Beriş, Yeter. "DEVELOPMENT OF FEMALE ARTIST IDENTITY IN THE 19TH CENTURY: AN EXAMINATION IN THE CONTEXT OF PRINT ART." In INTERNATIONAL SYMPOSIUM ON GRAPHIC ENGINEERING AND DESIGN. UNIVERSITY OF NOVI SAD FACULTY OF TECHNICAL SCIENCES DEPARTMENT OF GRAPHIC ENGINEERING AND DESIGN 21000 Novi Sad, Trg Dositeja Obradovića 6, 2024. http://dx.doi.org/10.24867/grid-2024-p65.

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The 19th century stands as a pivotal period in art history, marked by significant strides in both artistic expression and the struggle for women's rights. Women encountered various obstacles as they endeavoured to carve out their identities, seeking greater recognition and acceptance within the artistic sphere. However, this journey was fraught with substantial impediments to women's artistic and educational development. Initially, during the first half of the 19th century, access to art education for women was severely restricted. Often deprived of formal artistic training, they were typicall
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Camps, Assumpta. "Anonymity, Impersonation and Exile: Silenced Women Writers at the Dawn of Modernity in Spain." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2024. https://doi.org/10.62119/icla.2.8396.

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With the purpose of showing the cultural contributions to the contemporaneity of female writers and artists, so often silenced, and forgotten, we’ve seen recently a true (re)discovery of these protagonists of the Spanish Silver Age (1900-1936) from the Gender Studies, as well as from the Spanish Contemporary Literary Historiography. The recovery of female writers and artists of that period constitutes not only a way out of “anonymity” for these women, in a process that is, without any doubt, of absolute justice. It also involves necessarily a revision of the canon of the Spanish Silver Age, qu
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Kabwe, B. Mwenya. "Priority Mail Process Lab: An Experiment in Migrant Dramaturgy." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35906.

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This abstract reflects on the dramaturgy of the Priority Mail Process Lab, a month-long virtual residency program called into existence during the Covid-19 pandemic. The lab aimed to facilitate an exchange of objects, ideas, and insights between Francophone and Anglophone African artists. The paper explores the artistic research practice behind the lab, focusing on the themes of migration, mobility, and the role of African women. It discusses the curatorial intentions of prioritizing process over production, the importance of care, and the political implications of rest and emancipation. The p
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Arruda, Lina Alves. "Revisões feministas das histórias da arte: contribuições de Linda Nochlin e Griselda Pollock." In Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4089.

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Linda Nochlin inicia o artigo Why Have There Been No Great Women Artists? (1971) analisando os problemas e armadilhas da tentativa de se responder à pergunta que o intitula. Segundo a autora, trata-se de um questionamento de natureza falsa, que leva à presunção automática de que realmente não houve grandes mulheres artistas, aludindo, conseqüentemente, à idéia de que essas são incapazes de atingir a grandiosidade. Esse é um dos principais pontos de contínua incisão do texto: a desnaturalização da atribuição da condição da mulher ao sexo biológico. Alusões diretas ao útero, em fragmentos que tr
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Kebsi, Jyhene. "Decolonizing Rap: Tunisia’s Muslim Feminist Rappers." In 8th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2025. https://doi.org/10.62422/978-81-981590-2-1-022.

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My speech delves into Tunisian women rappers. It shows how these artists have carved a space for themselves in Tunisia’s masculine rap scene. My presentation emphasizes the complexity of the intersectional issues depicted in female rappers’ songs. I argue that Tunisia’s feminist rappers defend women’s rights while also stressing the multilayeredness of Tunisian women’s lives and struggles. My speech shows that feminist rappers’ songs target multiple forms of subordination caused by poverty, classism, sexism, corruption, bad governance and lack of security and opportunities. Despite their oppos
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Reports on the topic "Women artists"

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations
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Galenson, David. Who Were the Greatest Women Artists of the Twentieth Century? A Quantitative Investigation. National Bureau of Economic Research, 2007. http://dx.doi.org/10.3386/w12928.

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Mestre Delgado, Giselle. The Artistic Representation of the Witch: From Demonization to Empowerment. Florida International University, 2025. https://doi.org/10.25148/fiuurj.3.1.2.

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This journal article examines the portrayal of the witch archetype in Art History, uncovering not only the aesthetic choices made by artists but also the ways in which prevailing beliefs, moral panics, and societal anxieties have shaped these depictions. I discuss the iconography, visual imagery, literary inspirations, and historical context behind each examined artwork and artist to fully grasp this turbulent history. The term “witch” describes mythological figures with inborn or acquired magical powers. The ways these powers function differ from region and culture. However, one aspect prevai
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Poloboc, Alina. Fancy Fifi. Intellectual Archive, 2023. http://dx.doi.org/10.32370/iaj.2996.

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The painting is a fascinating work that captures the essence of extravagance and vibrant lifestyle of Miami through its main character, a confident and fun-loving woman. The artist has depicted a stylish and elegant figure walking through the city streets with a posture that reflects her confidence and determination. The choice of blue as the main color throughout the painting is a bold and impactful decision. Blue is typically associated with tranquility and calmness, but the artist has used it to create an atmosphere full of energy and vitality. Additionally, there are eye-catching details i
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Tsepkalo, Tetiana. SOCIAL ROLES AND STEREOTYPES OF FEMININITY IN THE ALMANAC «KURIER KRYVBASU». Ivan Franko National University of Lviv, 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12172.

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The subject of this research is the social roles and stereotypes of femininity in the almanac «Kurier Kryvbasu». The aim of the study is to conduct a systematic analysis of gender stereotypes of femininity in the literary almanac. The article employs the following methods: theoretical – for studying gender theory, stereotyping, and their application in the analysis of the content of the periodical; systemic-structural analysis – for conducting a systematic analysis of the social roles of femininity in the almanac «Kurier Kryvbasu»; structural-typological – for studying the content and structur
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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of st
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Latin American Artists in Washington Collections. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0006223.

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Twenty-four artworks by major Latin American artists, from the Hirshhorn Museum and Sculpture Garden, the National Museum of Women in the Arts, the Art Museum of the Americas, the Samuel M. Greenbaum 1989 Trust, and the IDB Collection.
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Two Visions of El Salvador. Inter-American Development Bank, 2000. http://dx.doi.org/10.18235/0006436.

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29 paintings and 1 sculpture by artists (including two women) from the early to late modern period of the 20th century, and 36 contemporary folk objects form this exhibition which juxtaposes the art of two different sectors of society ­the formally trained and the spontaneous, reflecting the circumstances and the social environments of each, but making all part of the national memory. The works come from the National Collection, the Julia Díaz Foundation-Museo Forma, and the INAR Foundation collection.
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