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1
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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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.
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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.
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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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Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.
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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.
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Tolley, Rebecca. "Review of Life Stories of Women Artists 1550-1800." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/5654.
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Malone, Kelsey Frady. "Sisterhood as Strategy| The Collaborations of American Women Artists in the Gilded Age." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877154.
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This dissertation employs four case studies—illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans—to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the “professional” artist.
“Sisterhood as Strategy” intersects with important work in the fields of American History, Women’s and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women’s artistic production and more focused scholarly studies on women’s labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists’ letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies’ magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.
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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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Johnson, Julie Anne. "Conflicted Selves: Women, Art, & Paris 1880-1914." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1591.
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Tolley, Rebecca. "Review of A Studio of Her Own: Women Artists in Boston 1870-1940." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5705.
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Tvardovskas, Luana Saturnino 1983. "Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.
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Orientador: Luzia Margareth RagoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013
Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História
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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.
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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.
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David, Elise. "Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.
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Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.
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Thesis (M.A.)--Kent State University, 2010.Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).
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Oliveira, Edilaine Matos de. "Herstory: representações de histórias de vida por mulheres artistas brasileiras desde a segunda metade do século XX." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27793.
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O Relatório de Trabalho de Projecto Herstory: Representações de
histórias de vida por mulheres artistas brasileiras desde a segunda metade do
século XX teve como objectivo principal investigar de que modo e em que
contexto social e cultural, desde meados do século XX aos nossos dias, as
mulheres artistas brasileiras representaram e deram visibilidade às suas
histórias de vida e de outras minorias através dos seus trabalhos artísticos.
Esta investigação teve como pano de fundo as artes visuais e a história
de arte, e como objecto de estudo as obras das artistas brasileiras Ligia Clark,
Lygia Pape, Márcia X, Adriana Varejão, Fabiana Faleiros e Priscila Rezende. As
suas obras, serviram como inspiração das instalações fotográficas e
performances que realizei ao longo do Curso de Mestrado em Práticas Artísticas
em Artes Visuais.
O meu percurso académico na área do marketing e do jornalismo, seguido
de um historial profissional como radialista, jornalista e fotógrafa, levaram-me a
explorar diferentes possibilidades de expressão através da fotografia e da
performance corporal, de forma a conseguir alcançar públicos de leitores e de
ouvintes distintos. Nesse sentido, a motivação para esta pesquisa e a escolha
da performance e da fotografia como suporte das minhas obras nasceu de
experiências vividas ao longo do meu percurso pessoal e profissional.
Estes trabalhos artísticos centraram-se em um conjunto de questões e
reflexões, ligadas às minhas experiências e vivências pessoais e profissionais
enquanto mulher, brasileira, imigrante, estudante de belas-artes e fotógrafa. Esta
pesquisa socorreu-se das análises e de conceitos das pensadoras e
historiadoras Heloísa Buarque de Hollanda, Linda Nochlin, Roberta Barros e,
Ana Gabriela Macedo; ABSTRACT:
The Herstory Project Work Report: Representations of life stories by
Brazilian women artists since the second half of the twentieth century aimed to
investigate how and in what social and cultural context, from the mid-twentieth
century to our day, Brazilian women artists represented and gave visibility to their
life and other minority stories through their artwork.
This research had as background the visual arts and art history, and as
object of study the works of the Brazilian artists Ligia Clark, Lygia Pape, Márcia
X, Adriana Varejao, Fabiana Faleiros and Priscila Rezende. His works served as
inspiration for the photographic installations and performances that I conducted
during the Master Course in Artistic Practice in Visual Arts.
My academic background in marketing and journalism, followed by a
professional background as a broadcaster, journalist and photographer, led me
to explore different possibilities of expression through photography and body
performance, in order to reach readers and readers alike. from distinct listeners.
In this sense, the motivation for this research and the choice of performance and
photography as support for my works was born from experiences lived along my
personal and professional career.
These works focused on a set of questions and reflections, linked to my
personal and professional experiences as a woman, Brazilian, immigrant, student
of fine art and photographer. This research used the analysis and concepts of
thinkers and historians Heloísa Buarque de Hollanda, Linda Nochlin, Roberta
Barros and Ana Gabriela Macedo
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Gunderson, Maryann S. "Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930." Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1080666457.
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Adendorff, Delaida Adéle. "The princess in the veld : curating liminality in contemporary South African female art production." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63007.
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I aim to showcase post-African female identity through the exhibition, The princess in
the veld. The exhibition displays selected works produced by South African women
artists, underpinned by the proposed curatorial framework. This curatorial approach
is feminist, and may allow for a liminal reading of local female identity. I premise my
theorised curatorial framework liminally, in-between binary oppositions. This position
allows for a feminist position and/or reading of female identities that simultaneously
allude to, and reject a so-called local (essentialised) women’s art production within
the ambit of global, Western dominated feminism. I argue that, for such a display to
be successful, an alternative curatorial space is needed. For this purpose, I introduce
the notion of heterotopia, a counter-space, to renegotiate binaries and to render
identity formations temporarily in-between prevailing norms. This heterotopic
counter-curatorial space is realised through an exhibition that employs the medium of
video, rather than conventional exhibition media installed in real space.
An exploration of specified key local and international survey exhibitions
foregrounding women’s concerns from the 1980s onwards, serves to inform my
theorised curatorial framework. The research embarks on an investigation of a recent
large-scale exhibition hosted in France, to gain an understanding of the pitfalls
prevalent in curating an exhibition of artwork produced by women. From a feminist
standpoint, I critically analyse this display to suggest more inclusive alternative
curatorial strategies to shift the conventionally Western approach followed by this
curator.
The revisionist, feminist, re-reading of certain South African curated exhibitions from
both the apartheid and post-apartheid periods proposes a feminist trajectory that
follows the shaping of local women’s identities, which remain deeply inscribed in this
country’s politics and histories. This section of the survey underlines local post-
African female identity as liminal and in flux, through the investigation of seminal
exhibitions and artworks produced by South African women. I argue that this liminal
account allows for an inclusive and extended understanding of women, while
explicating the South African multicultural dispensation wherein the post-African
woman operates.Thesis (DPhil)--University of Pretoria, 2017.
National Research Foundation
University of Pretoria
Visual Arts
DPhil
Unrestricted
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Alaybani, Rasmyah. "Words and Images:Women’s Artistic Representations in Novels and Fine Art in the Kingdom of Saudi Arabia 2005-2017." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565009668743079.
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Merlin, Monica. "The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.
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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.
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Guilois, Bruno. "La communauté des peintres et sculpteurs parisiens : de la corporation à l’Académie de Saint-Luc." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL098.
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La communauté des maîtres peintres et sculpteurs parisiens a connu une importante évolution entre les XVIIe et XVIIIe siècles. La création de l’Académie royale en 1648 correspond à un temps de bouleversement : l’ancien et le nouveau corps se joignent alors, et tentent de cohabiter dans une même structure. La fin du XVIIe siècle correspond à l’essor de la population de la maîtrise, à la publication des listes de ses membres, ainsi que des statuts, dans une remise en ordre globale de la communauté. C’est donc une corporation forte d’une nombreuse population et bien organisée qui obtient en 1705 une déclaration de Louis XIV lui permettant d’ouvrir une école de dessin fondée sur le modèle vivant. La toute nouvelle Académie de Saint-Luc peut s’installer durablement dans le paysage artistique de la première moitié du XVIIIe siècle. Installée dans des nouveaux locaux dont elle se porte acquéreuse, rue du Haut-Moulin en la Cité, elle transforme considérablement ses statuts, en accordant une place importante en son sein à un corps d’artistes, chargés d’assurer l’enseignement de l’école. Les années 1750 à 1775 sont des années où les évènements se précipitent, pour l’Académie de Saint-Luc. Des expositions, suivies du public, permettent de faire connaître nombre de ses membres, et d’inscrire la petite académie dans les débats artistiques du milieu du XVIIIe siècle. Le perfectionnement de l’école d’après le modèle, permet dans les années 1765-1775 de reconnaître davantage encore un statut propre pour les artistes, au sein de la communauté. L’évolution est donc spectaculaire sur plus d’un siècle, et témoigne d’une adaptation remarquable de la vieille corporation, qui a su assimiler ainsi un fonctionnement académique à l’organisation hiérarchique d’une communauté de métierThe community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community
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Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
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Introduction:
I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms
that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170)
As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been
acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on
women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community
who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive
advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the
social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.
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Cohen, Matthew. "Framing the Woman Artist: Gender and Art in Howells and Sargent." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625942.
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McFadden, Alesia E. "The artistry and activism of Shirley Graham Du Bois a twentieth century African American torchbearer /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/76/.
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Senna, Nádia da Cruz. "Donas da beleza: a imagem feminina na cultura ocidental pelas artistas plásticas do século XX." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27134/tde-27042009-120443/.
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Donas da Beleza discute a representação do feminino na cultura ocidental, presente na produção das artistas plásticas do século XX. O estudo foi desenvolvido para examinar, a partir de uma perspectiva estética e sóciocultural, os diferentes modelos de Beleza, a forma como são propostos, como coexistem, e ainda, como se remetem mutuamente através de diferentes períodos, sem perder o foco estabelecido o olhar feminino. Este parâmetro implicou um estudo comparativo que identifica semelhanças e diferenças no modo de representação de arquétipos dominantes no imaginário de homens e mulheres. Sob o título Configurações da Beleza Feminina comparecem as categorias: Divindade, Maternidade, Inocência, Maturidade, Sensualidade e Ideal. Constitui um quadro visual de referência em que artistas e obras estão alinhados a partir da diversidade quanto ao tratamento dos temas, técnicas e contextos de produção, localizando, numa linha de tempo que compreende o século XX e suas fases de transição, uma maior abertura, sugerindo outras leituras, ou seja; outros modos de ver a imagem da mulher, a mulher artista, a história da arte.In Owners of the Beauty I have studied the representation of feminine in the occidental culture in the production of the plastic female artists of 20th century. The study was developed to examine, from an aesthetic and socio-cultural perspective, the different models of Beauty, as they are considered, as they coexist, and still, as they relate through different periods, without losing the established focus - the feminine look. This parameter implied a comparative study that identifies similarities and differences in the way of representation of dominant archetypes in men and women imaginary. Under the heading Configurations of the Feminine Beauty these categories appear: Deity, Maternity, Innocence, Maturity, Sensuality and Ideal. It is a visual picture of reference where artists and workmanships are lined up by the diversity of treatment of subjects, techniques and contexts of production, in a time line that comprehends 20th century and its phases of transition and which imply other readings, other ways to see the image of the woman, the woman artist, the history of the art.
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Gee, Loveday Elizabeth Talbot. "Artistic patronage by women in England during the reigns of Henry II and the three Edwards c.1216-c.1377." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266409.
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Tamboer, Kimberly Jean. "Artistic Achievements of Convent Women in Renaissance Italy: with case studies in Venice and Prato." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327335.
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Art HistoryM.A.
This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote.
Temple University--Theses
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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.
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Mendonça, João Guilherme Rodrigues [UNESP]. "Mulher e criança: ambivalência de dois mundos ditados por especialistas em artigos de revistas destinados ao grande público entre os anos de 1940 a 1950." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/101325.
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Ce travail se propose a comprendre, analyser et interpréter les textes en forme de articles, produits en sessions destinées à mères dans les magazines dirigés au grand public entre les années 1940 à 1950. Les magazines que contiennent des sessions dans cette periode discriminée sont trois: Fon Fon, Allons lire et La Cigale. La thèse c’est divisée en deux blocs avec des sessions differentes. Le premier bloc représente la première partie de la thèse dans la quelle on voit l’admission théorique sur le but de recherche. Le deuxième bloc, qui représente la deuxième partie de la thèse, presente l’exploration du but de recherche à partir des magazines Fon Fon, Allons lire et La Cigale, pendant la periode de 1940 à 1950. L’ensemble des articles qui compose les sessions de ces magazines configurent la source documentaire, composée de 213 articles où je décrits et j’analyse les informations , les descriptions et les représentations de la femme mère, caractérisée par les experts, qui leur écrivaient dans ces sessions spécifiques destinées à mères par l’exercice de la maternité. La recherche démontre que les experts que s’ont dédié plus fréquemment dans la publication de textes et de messages à les femmes mères ont été les médecins.Ceux-ci exercent une vraie éducation de la femme pour la fonction de la maternité; ils ont entré dans l’histoire familière , en intervenant et en engendrant des normes por la routine de la éducation du fils, en engendrant une athmosfère de faute, de dilution, de l’autonomie parentale,à travers de l’imposition de la puissance de la connaissance spécialisée, en disqualifiant les traditions familières et des endroits, en disqualifiant les parents, les parents et en cherchant prendre les espaces des laïques et des orientations des personnes plus vieilles et plus proximes de la famille. Une police... (Résumé complet accès életronique cidessous)
O presente trabalho se propôs a compreender, analisar e interpretar os textos em forma de artigos, produzidos em seções destinadas às mães em revistas voltadas ao grande público entre os anos de 1940 a 1950. As revistas que mantêm seções nesse período discriminado são: Fon Fon, Vamos Ler e A Cigarra. A tese está dividida em dois blocos de diferentes seções. O primeiro bloco retrata a primeira parte da tese, onde se evidencia o aporte teórico sobre o objeto de pesquisa; o segundo bloco representa a segunda parte da tese, que retrata a exploração do objeto de pesquisa a partir das revistas Fon Fon, Vamos Ler e A Cigarra, compreendendo o período de 1940 a 1950. O conjunto dos artigos que compõe as seções dessas revistas, configuram a fonte documental, composta de 213 artigos em que descrevo e analiso as informações, descrições e representações da mulher mãe, caracterizada pelos especialistas, que escreviam a elas, nessas seções específicas destinadas às mães, para o exercício da maternidade. A pesquisa revela que os especialistas que mais frequentemente se dedicaram na editoração de textos e mensagens às mulheres mães foram os médicos. Estes exercem uma verdadeira educação da mulher, visando a função da maternidade; adentram na história familiar, interferindo e fundamentando normas para a rotina da criação do filho, criando uma atmosfera de culpa, diluição da autonomia parental, através da imposição do poder do conhecimento especializado, descredenciando as tradições familiares e locais; desacreditando os pais, os parentes e procurando tomar os espaços dos leigos e das orientações das pessoas mais velhas e próximas da família. Uma autêntica polícia das famílias se instala. Será preciso, então, que essa mulher, que faz parte da elite e representa...
The present work proposed to understand and interpret the articles destined to mothers in magazines to the public between 1940 and 1950. The magazines that keep articles in this period itemized are three: Fon Fon, Vamos Ler e a Cigarra. The Work is divided in two blocks of different sessions. The first block pictures the first part of the work highlights the theoretical input about the research from the magazines Fon Fon, Vamos Ler e a Cigarra between 1940 and 1950. The ensemble of these magazines articles, are the documentary source, consist in 230 articles in which I write and analyze the information, descriptions, and representations of woman mother, characterized by experts, who wrote to them, in those magazines which had session aimed to mothers. The research shows that the experts who frequently dedicated writing the articles where doctors. They had a major influence in the exercise of being a mother for those women, going into familiar history, intervening and making rules of how bring up a child, creating an atmosphere of guilty, dilating the parents autonomy ,throw the knowledge expert’s power, putting family tradition behide, disbelieving the parents and looking to take off elderly and near friends orientation . Installing a family police. Is there a need for this up class mother, who represents the magazine’s aim public ,to learn how to be a mother and take care of your own child with expert doctors now because before were de nannies, slaves, milk mothers and so on. The doctor did not believe that it was a natural mother s feeling, the concept of a child insert in a family also didn’t exist in the doctors view. This was the concept that was proposed by the articles published by those magazines Fon Fon, Vamos Ler e a Cigarra. In the end the expert writers dedicated to the up a class mothers governance, left... (Complete abstract click electronic access below)
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Mendonça, João Guilherme Rodrigues. "Mulher e criança : ambivalência de dois mundos ditados por especialistas em artigos de revistas destinados ao grande público entre os anos de 1940 a 1950 /." Araraquara : [s.n.], 2011. http://hdl.handle.net/11449/101325.
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Orientador: Paulo Rennes Marçal RibeiroBanca: Eladio Sebastián Heredero
Banca: Ari Fernando Maia
Banca: Fátima Elizabeth Denari
Banca: Fábio Tadeu Reina
Resumo: O presente trabalho se propôs a compreender, analisar e interpretar os textos em forma de artigos, produzidos em seções destinadas às mães em revistas voltadas ao grande público entre os anos de 1940 a 1950. As revistas que mantêm seções nesse período discriminado são: Fon Fon, Vamos Ler e A Cigarra. A tese está dividida em dois blocos de diferentes seções. O primeiro bloco retrata a primeira parte da tese, onde se evidencia o aporte teórico sobre o objeto de pesquisa; o segundo bloco representa a segunda parte da tese, que retrata a exploração do objeto de pesquisa a partir das revistas Fon Fon, Vamos Ler e A Cigarra, compreendendo o período de 1940 a 1950. O conjunto dos artigos que compõe as seções dessas revistas, configuram a fonte documental, composta de 213 artigos em que descrevo e analiso as informações, descrições e representações da mulher mãe, caracterizada pelos especialistas, que escreviam a elas, nessas seções específicas destinadas às mães, para o exercício da maternidade. A pesquisa revela que os especialistas que mais frequentemente se dedicaram na editoração de textos e mensagens às mulheres mães foram os médicos. Estes exercem uma verdadeira educação da mulher, visando a função da maternidade; adentram na história familiar, interferindo e fundamentando normas para a rotina da criação do filho, criando uma atmosfera de culpa, diluição da autonomia parental, através da imposição do poder do conhecimento especializado, descredenciando as tradições familiares e locais; desacreditando os pais, os parentes e procurando tomar os espaços dos leigos e das orientações das pessoas mais velhas e próximas da família. Uma autêntica polícia das famílias se instala. Será preciso, então, que essa mulher, que faz parte da elite e representa... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The present work proposed to understand and interpret the articles destined to mothers in magazines to the public between 1940 and 1950. The magazines that keep articles in this period itemized are three: Fon Fon, Vamos Ler e a Cigarra. The Work is divided in two blocks of different sessions. The first block pictures the first part of the work highlights the theoretical input about the research from the magazines Fon Fon, Vamos Ler e a Cigarra between 1940 and 1950. The ensemble of these magazines articles, are the documentary source, consist in 230 articles in which I write and analyze the information, descriptions, and representations of woman mother, characterized by experts, who wrote to them, in those magazines which had session aimed to mothers. The research shows that the experts who frequently dedicated writing the articles where doctors. They had a major influence in the exercise of being a mother for those women, going into familiar history, intervening and making rules of how bring up a child, creating an atmosphere of guilty, dilating the parents autonomy ,throw the knowledge expert's power, putting family tradition behide, disbelieving the parents and looking to take off elderly and near friends orientation . Installing a family police. Is there a need for this up class mother, who represents the magazine's aim public ,to learn how to be a mother and take care of your own child with expert doctors now because before were de nannies, slaves, milk mothers and so on. The doctor did not believe that it was a natural mother s feeling, the concept of a child insert in a family also didn't exist in the doctors view. This was the concept that was proposed by the articles published by those magazines Fon Fon, Vamos Ler e a Cigarra. In the end the expert writers dedicated to the up a class mothers governance, left... (Complete abstract click electronic access below)
Résumè: Ce travail se propose a comprendre, analyser et interpréter les textes en forme de articles, produits en sessions destinées à mères dans les magazines dirigés au grand public entre les années 1940 à 1950. Les magazines que contiennent des sessions dans cette periode discriminée sont trois: Fon Fon, Allons lire et La Cigale. La thèse c'est divisée en deux blocs avec des sessions differentes. Le premier bloc représente la première partie de la thèse dans la quelle on voit l'admission théorique sur le but de recherche. Le deuxième bloc, qui représente la deuxième partie de la thèse, presente l'exploration du but de recherche à partir des magazines Fon Fon, Allons lire et La Cigale, pendant la periode de 1940 à 1950. L'ensemble des articles qui compose les sessions de ces magazines configurent la source documentaire, composée de 213 articles où je décrits et j'analyse les informations , les descriptions et les représentations de la femme mère, caractérisée par les experts, qui leur écrivaient dans ces sessions spécifiques destinées à mères par l'exercice de la maternité. La recherche démontre que les experts que s'ont dédié plus fréquemment dans la publication de textes et de messages à les femmes mères ont été les médecins.Ceux-ci exercent une vraie éducation de la femme pour la fonction de la maternité; ils ont entré dans l'histoire familière , en intervenant et en engendrant des normes por la routine de la éducation du fils, en engendrant une athmosfère de faute, de dilution, de l'autonomie parentale,à travers de l'imposition de la puissance de la connaissance spécialisée, en disqualifiant les traditions familières et des endroits, en disqualifiant les parents, les parents et en cherchant prendre les espaces des laïques et des orientations des personnes plus vieilles et plus proximes de la famille. Une police... (Résumé complet accès életronique cidessous)
Doutor
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Godbey, Margaret J. "Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.
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EnglishPh.D.
Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.
Temple University--Theses
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Trizoli, Talita. "Atravessamentos feministas: um panorama de mulheres artistas no Brasil dos anos 60/70." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-03122018-121223/.
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Nessa tese de doutorado, efetuo uma análise crítica da produção artística brasileira no trânsito da década de 60 para 70 do século XX, dentro dos pressupostos das teorias feministas de crítica cultural, com ênfase nas possibilidades de subjetivação do feminino pela prática artística. Para ser mais específica, preocupo-me aqui com certos trabalhos realizados por trinta artistas mulheres atuantes no período, contemporâneas entre si e do advento do feminismo de segunda onda no país, que envolvam as preocupações estéticas e plásticas em voga, e que permitam uma abordagem de crítica feminista justamente por trabalharem com problemáticas corpóreas e identitárias, que abarcam principalmente os limites e/ou possibilidades dos processos de subjetivação pela ótica dos confrontos e subversões do gênero.In this PHD Dissertation, I make a critical analysis of Brazilian artistic production in traffic of the 60 to 70 of the twentieth century, within the assumptions of feminist theories of cultural criticism, emphasizing the possibilities of female subjectivity by artistic practice. To be more specific, I am concerned here with some work done by thirty women artists working in this period, contemporary with each other and to the advent of the second feminism wave in the country, involving the aesthetic and plastic concerns in vogue, and that allow the approach of a feminist criticism, since they worki with body and identity issues, which mainly cover the limits and/or possibilities of subjective processes from the perspective of confrontations and subversions of the genre.
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McGuirk, Hayley D. K. "Mary Cassatt and Cecilia Beaux: An Analytical Comparison of Two New Women and Issues Surrounding Femininity, Modernity, and Nineteenth-Century Feminism." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou149219025174349.
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Dallas, Oxana. "Augmented Reality: The Art Of Storytelling Through A Blend Of Digital Photography And Woven Jacquard Structure." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523379008522673.
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Fiely, Megan Elisabeth. "“Within a Framework of Limitations”: Marianne Strengell’s Work as an Educator, Weaver, and Designer." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143405799.
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Klekottka, Anna. "Ngaromoana Raureti Tomoana : indigenous village artist, story teller and ahi kaa : [a thesis submitted in partial fulfillment [ie. fulfilment] of the requirements for the degree of Master of Arts in Art History /." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/3683.
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Ngaromoana Raureti Tomoana is a painter from the East Coast of the North Island. In more than 30 years she has produced and shown a large body of work, like many other women artists concurrently juggling motherhood and artistic performance. Over approximately the last 10 years, she has formalized her education completing the Advanced Diploma for Maori Visual Arts at Toihoukura in Gisborne as well as a Bachelor of Arts and a Masters of Maori Visual Arts at Massey University.
The artist, who identifies as an Indigenous Village Artist, is hardly known outside her local area of Northern Hawkes Bay, and, apart from a short feature in Mataora , a picture in Te Ata , and various catalogue entries, little has been written about her work. This thesis introduces Ngaromoana Raureti Tomoana and explores the notion of an indigenous village art. I incorporate feminist and postcolonial discourses into a political and critical engagement with her art, which addresses issues of village and land based cultural identity as well as race and gender. I argue that her work is politically motivated and important in the context of contemporary Maori art. Furthermore, based on a holistic world view, it simultaneously reaches out into the wider, global community. Intertwining local and personal history, her oeuvre is the manifestation of a female path and a female perspective, of identification with her village and beyond.
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Peytavin, Lucile. "Histoire relationnelle du genre chez les artisan-e-s-commerçant-e-s de proximité au village (XIXe-XXe siècles)." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2023/document.
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Notre thèse porte sur l’artisanat et le commerce rural entre 1890 à 1960, période correspondant à l’apogée et au déclin de ces secteurs d’activités. A ce titre la vie de travail de plusieurs familles de petits entrepreneurs a été étudiée : le cadre de la petite entreprise familiale gérée par un couple épaulé par ses enfants avec ou sans employé permet de faire l’histoire relationnelle de ces travailleurs. Ainsi cette étude met au jour le rôle décisif des femmes à la tête de leur propre activité ou aux côtés de leur époux puisqu’elles concilient le travail de l’atelier ou de la boutique, l’éducation des enfants et les tâches domestiques, sans quoi l’entreprise familiale ne peut exister. En découvrant le quotidien de ces femmes, on déconstruit l’image de l’épouse secondant son mari dans son métier tout en rappelant les inégalités bien réelles des relations entre les sexes.Au total 8 huit entreprises et dix secteurs d’activité ont été étudiés grâce à la pluriactivité de familles drômoises et bourbonnaises. Le fait qu’elles traversent les mêmes étapes dans leurs carrières – l’apprentissage, l’installation, le choix du conjoint, le développement de stratégies de travail, la transmission –, rend possible la comparaison entre elles. Les deux principales entreprises retenues sont celles des Bardet correspondant à un restaurant-café-hôtel-bal-épicerie-quincaillerie proche de Moulins en activité de 1896 à 1975 et celles des Thivolle correspondant à une menuiserie-pompes-funèbres-mercerie-chapellerie à 30 km au nord de Valence entre 1900 à 1968. A cela s’ajoute l’histoire de six autres familles d’artisans commerçants drômoises permettant d’aborder d’autres activités telles que la coiffure, la mécanique ou la bourrellerie.Ce corpus permet l’étude de la répartition familiale des tâches entre les époux, les enfants et les ascendants. Cette thèse s’inscrit dans un courant d’étude large concernant non seulement l’égalité professionnelle mais aussi les enjeux du commerce rural de proximité. Il s’agit d’une étude économique et sociale portant sur les problématiques relationnelles de genre, la vie des petites entreprises et la sociabilité au village mettant en œuvre de nombreuses pistes de recherche : viabilité des activités, démographie des ateliers ou boutiques qui en vivent, associations d’artisans-commerçants, combinaison d’activités, pluriactivité, flexibilité de la petite entreprise, transmission héréditaire en ligne masculine, devenir des autres enfants, etc. A cela s’ajoute un croisement des disciplines (sociologie, ethnologie, géographie, économie, histoire) permettant l’étude de cette population en l’intégrant dans un panorama économique et social.Les résultats produits par ces travaux témoignent de la sortie d’une condition paysanne pour les premier artisans-commerçants des familles étudiées. Ils révèlent certains aspects des secteurs d’activité : l’épicerie, la mercerie et les cafés informent sur l’évolution des habitudes de consommation des ruraux en pleine mutation à travers l’augmentation du nombre de points de vente sédentaires dans la commune, la sortie de l’autosubsistance des paysans et la diversification des produits industriels proposés à la vente. Ils révèlent l’extrême pluriactivité de ces familles au début du siècle avant une spécialisation grandissante dans l’organisation de leur travail. Ils mettent au jour le conditionnement de la vie de ces travailleurs et de leurs enfants par leur entreprise : leur parcours de vie étant défini par les exigences d’organisation du travail, économiques, de transmission, etc. afin d’en assurer la pérennité. Ils rendent compte de la forte implication des artisans-commerçants dans la vie des villages et du rôle joué par leurs activités professionnelles dans la construction de la sociabilité villageoise. Enfin, ils informent sur la place précaire des femmes dans ce secteur mais aussi sur l’importance de leur rôle induits par les contraintes de genre et les contraintes économiquesOur thesis focuses on crafts and rural trade between 1890 and 1960, a period corresponding to the peak and decline of these lines of businesses. As such, the working life of several families of small entrepreneurs has been studied: the framework of the small family business managed by a couple supported by their children, with or without an employee, allows the relational history of these workers to be made. Thus, this study reveals the decisive role of women at the head of their own activity or alongside their husbands since they reconcile the work of the workshop or boutique, the children’s education and domestic tasks, without which the family business cannot exist. By discovering the daily lives of these women, we deconstruct the image of the wife assisting her husband in his profession while underlining the very real inequalities in gender relations.A total of 8 eight companies and ten sectors of activity were studied thanks to the multi-activity of families from Drôme and Bourbonnais. The fact that they go through the same stages in their careers—learning, settling in, choosing a spouse, developing work strategies, transferring knowledge—allows for a comparison to be made. The two main companies selected are the Bardet family, respectively a restaurant/café/hotel/ball/grocery shop/ironmongery near Moulins, which operated from 1896 to 1975, an the Thivolle family, respectively a joinery/funeral director/haberdashery/millinery 30 km north of Valence, between 1900 and 1968. In addition, there are six other families of Drome artisans and merchants who offer other activities such as hairdressing, mechanics and saddlery. This corpus allows the study of the family division of tasks between spouses, children and ascendants. This thesis is part of a broad line of study concerning not only professional equality but also the challenges of local rural trade. This is an economic and social study on gender relational issues, the life of small businesses and sociability in the village, which implements many research avenues: viability of activities, demographics of the workshops or boutiques that make a living from them, associations of artisans and merchants, combination of activities, multi-activity, flexibility of small businesses, systematic male inheritance, becoming of other children, etc. In addition, the disciplines (sociology, ethnology, geography, economics, history) are intertwined to allow the study of this population by integrating it into an economic and social framework.The results produced by this work show that the first artisan merchants of the families studied disengaged themselves from a previous peasant condition. They reveal certain aspects of the sectors of activity: grocery shops, haberdashery and cafés provide information on the evolution of the consumption habits of rural people in full change through the increase in the number of sedentary sales outlets in the commune, the farmers’ departure from self-sufficiency and the diversification of industrial products offered for sale. They reveal the extreme multi-activity of these families at the beginning of the century before a growing specialization in the organization of their work. They reveal the conditioning of the lives of these workers and their children through their business: their life course being defined by the requirements of work organization, economics, transfer of knowledge, etc. in order to ensure their sustainability. They reflect the strong involvement of artisanal traders in village life, and the role played by their professional activities in building village sociability. Finally, they provide information on the precarious position of women in this sector but also on the importance of their role induced by gender and economic constraints
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Seaman, Leah M. "The depiction of female emotion as seen through the work of Italian Renaissance artists Artemisia Gentileschi and Michelangelo Caravaggios Judith Beheading Holofernes and Artemisia Gentileschi and Cavaliere dArpinos Susanna and the Elders." Marietta College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors161944857779248.
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Journée, Aurélie. "Artistes femmes, queer et autochtones face à leur(s) image(s) : pour une histoire intersectionnelle et décoloniale des arts contemporains autochtones aux Etats-Unis et au Canada (1969-2019)." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0105.
Full textAbstract:
Fin des années 1960 aux Etats-Unis, les Indians of All Tribes impulsent un mouvement de contestations sociales qui a pour but la reconnaissance des droits inhérents aux peuples autochtones à la souveraineté et à l'auto-détermination. L'American Indian Movement et sa branche féminine Women of All Red Nations s'emparent de ces questions sociales, politiques et culturelles. Femmes et hommes entament de concert un processus d'émancipation dont l'accomplissement ne cesse d'être repoussé par les politiques assimilatrices successives du gouvernement états-unien. Au Canada aussi, des mobilisations collectives éclatent dans les années 1980 et 1990, et culminent avec les événements de Restigouche (1984) et la Crise d'Oka (1990). Ces évènements majeurs inspirent toute une jeune génération d'artistes autochtones et de femmes en particulier, formées notamment à l'Institute of American Indian Arts à Santa Fe (Nouveau-Mexique). De formations universitaires approfondies, elles développent des démarches artistiques transdisciplinaires à mi-chemin entre l'histoire de l'art et l'ethnographie. Elles mettent en évidence la porosité et la friabilité des frontières instaurées dans tous les secteurs par la société dominante contre les groupes considérés comme minoritaires. A cette fin, le photographique – par lequel nous désignons la pratique, la technique et l'image photographiques – devient un outil stratégique majeur de réappropriation et de réaffirmation de ce qu'elles sont et tendent à incarner. Ces artistes femmes interrogent grâce à ce médium les façons dont elles ont été représentées et se représentent elles-mêmes dans le cadre de démarches critiques des stéréotypes dont elles font l'objet depuis plusieurs siècles d'appropriation culturelle. Elles repensent par ce biais leurs identités, les rapports qu'elles entretiennent à leurs corps, à leurs sexualités et à leurs genres, à l'aune de leurs propres spiritualités. Grâce à leurs images artistiques et politiques, fruits de pratiques fondées sur une analogie entre la violation de leurs droits, l'exploitation de leurs terres et territoires, et les violences sexuelles dont elles font l'objet, elles continuent à prendre part aux mouvements de résistance actuels qui s'opposent aux projets extractivistes face auxquels elles s'affirment, une nouvelle fois, en première ligne. A partir d'un corpus iconographique de près de 400 œuvres réalisées entre 1969 et 2019, et d'entretiens individuels avec des artistes et des militantes femmes et queer autochtones des Etats-Unis et du Canada, cette thèse a pour objectif de montrer en quoi ces images – en particulier photographiques configurent des épistémologies nouvelles dans une perspective intersectionnelle, décoloniale et anticapitaliste, et s'inscrivent dans la continuité d'un processus de réaffirmation des droits inhérents des peuples autochtones, garantis par la Déclaration des Nations Unies sur les Droits des Peuples Autochtones (2007)In the late 1960s, the Indians of All Tribes lead a movement of social protests to get their rights to sovereignty and self-determination recognized as peoples. The American Indian Movement take over these political, social, and cultural issues. Together, Indigenous women and men start a process of emancipation that has been blocked by assimilationist US governmental policies. In Canada, collective movements also rise in the 80s and 90s, with the highest points during the Restigouche events (1984) and the Oka Crisis (1990). These major events inspire a whole generation of young Indigenous artists and women in particular, who study mostly at the Institute of American Indian Arts of Santa Fe (New-Mexico). Thanks to their education, they develop transdisciplinary artistic practices between art and ethnography that highlight the porosity and the flakiness of the borders that have been created in all the sectors by the dominant society against groups regarded as minorities. To do so, the “photographique” – that designates the photographic practice, technics and image – become a strategic technical and technological tool of reappropriation and reaffirmation of their identities and representation. These women and queer artists question, thanks to this medium, the ways they have been presented and re-represent themselves in the context of critical practices of the stereotypes that they have been facing for several centuries of cultural appropriation. It enables them to rethink their identities, the relationships to their bodies, their sexualities and genders, in terms of paradigms specific to their own spiritualities. Through artistic and political images, based on an analogy made between the violation of their rights, the exploitation of their lands and territories, and the feminicides perpetuate, they continue to take part in actual resistance movements against extractivist projects where they are again at the frontline. Based upon an iconographic corpus made of almost 200 artworks, through the 70s till now, and individual interviews with women and queer artists and militants from the US and Canada, this dissertation aims to show how these images – photographic in particular – try to set up new epistemologies in an intersectional, decolonial and anticapitalist perspective, as part of a process of reaffirmation of the inherent rights of Indigenous peoples, guaranteed by the United Nations Declaration on the Rights of Indigenous Peoples (2007)
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Latry, Magalie. "Confrontations artistiques et féministes aux hiérarchies du genre." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30013/document.
Full textAbstract:
Polysémie du genre : il définit le sexe social comme les genres artistiques. Une même logique de classement hiérarchique y serait-elle à l’œuvre ? Les conditions d'exercice des femmes artistes, dont un stéréotype veut qu'elles se cantonnent aux genres dits mineurs, permettent de le penser. Corollaire de cette question logique, celle de la concomitance historique : les genres artistiques sont-ils mis en question aux mêmes moments que ce que l'historiographie féministe nomme les « trois vagues » ? Sept œuvres particulières nous aideront à penser les confrontations aux hiérarchies du genre à l'âge classique et aux moments des trois vagues féministes : Nature morte aux abricots, de Louise Moillon, 1634, Portrait d'une négresse, de Marie-Guillemine Benoist, 1800, Clotho, de Camille Claudel, 1893, Autoportrait de Claude Cahun, 1928, Tir de Niki de Saint Phalle, 1961, Azione sentimentale, de Gina Pane, 1973, Le Régime chromatique, de Sophie Calle, 1997. En dépit de progrès – notion qui est questionnée plutôt que considérée comme acquise – certains traits attribués aux femmes artistes perdurent. Un regard transversal voit émerger les thèmes d'une hiérarchie toujours à l’œuvre. Ils sont de l'ordre du stigmate : elles sont toujours un peu folles, cuisinières, coquettes, médiocres, sorcières, définies et gouvernées par leur sexe. Le genre, tant qu'il n'est pas interrogé en tant que tel, semble être la garantie de la permanence de ces stigmates. Resterait donc à le contourner : par les textes, le corps (corps représentés, corps des images, corps des artistes), et par le cœur même de la pratique plastique, le rapport de l'artiste à la matière : la plasticitéThe French word genre has several meanings, including an artistic genre, but also gender – the social traits associated with one sex. Does it follow that the same hierarchy-based systems are at work in both fields of art genre and social gender? Anyone is allowed to conclude so, who considers the practising conditions of women artists, whom a stereotype accuses of restraining their work to so-called minor genres. As a consequence, the issue of historical simultaneity arises: were artistic genres questioned at the same periods as what feminist historiography calls “the three waves”? This thesis focuses on seven specific art pieces so as to examine how gender-related hierarchy systems were confronted in classicism and during each period concerned by the three feminist waves: Nature morte aux abricots, by Louise Moillon, 1634, Portrait d'une négresse, by Marie-Guillemine Benoist, 1800, Clotho, by Camille Claudel, 1893, Autoportrait by Claude Cahun, 1928, Tir by Niki de Saint Phalle, 1961, Azione sentimentale, by Gina Pane, 1973, and Le régime chromatique, by Sophie Calle, 1997. Despite a number of improvements – a notion which is questioned rather than acknowledged – certain features are persistently attributed to women artists. A crosswise look at their work reveals that the patterns of hierarchy are still operating. These features are a matter of stigma: woman artists are inevitably unhinged creatures, cooks, coquettes, mediocre artists or even witches, and always defined and driven by sex. Gender, as long as it isn’t questioned as such, seems to be serving as a guarantee for the permanence of those stigmas. One could try to get around the gender issue, using texts, bodies (represented bodies, bodies of images, bodies of the artists), and the very core of plastic practice, the relationship between the artist and the material: plasticity
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Corniquet, Claire. "Ancrage social, ancrage spatial: circulations des savoirs céramiques chez les potières de l'Arewa et du Kurfey, Niger." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209394.
Full textAbstract:
A première vue, la poterie est une activité qui se pratique seule :la potière possède son propre atelier dans le village et est l’unique bénéficiaire de la vente de ses récipients. Néanmoins les enquêtes de terrain menées dans l’Arewa et le Kurfey oriental (Niger) révèlent qu’à chaque étape de la chaîne opératoire, l’artisane est en contact, plus ou moins proche, avec d’autres praticiennes (apprenties, artisanes de la localité ou d’autres localités). Ces contacts, organisés ou informels, prennent généralement place dans le contexte de certaines étapes de la chaîne opératoire à deux échelles d’analyse différentes :l’échelle villageoise par l’occupation d’un atelier et/ou d’un site de cuisson commun à divers artisanes et l’échelle extra villageoise par la fréquentation de sites d’extraction et de marchés partagés par des artisanes issues de localités différentes. Autant d’espaces de pratiques fréquentés par les potières susceptibles d’échanger leurs savoirs, collaborer et construire, ensemble, un répertoire de connaissances mobilisables. Quand une potière réalise son récipient, elle inscrit sa pratique dans un monde connu et habité. Sa technique est autant marquée par son apprentissage que par son identité familiale et villageoise ainsi que par ses interactions avec d’autres artisanes. Si on admet que chaque pratique est située et que la situation donne du sens à la pratique, il devient impératif d’examiner les situations de partage des savoirs ainsi que les cadres dans lesquels ces situations prennent place. Nous mettrons en évidence les points de contacts qui lient et interconnectent les artisanes d’une même localité et des différentes localités de la zone d’étude. Nous évaluerons les dimensions sociales et relationnelles de l’apprentissage de la poterie ainsi que la façon dont les habiletés sont conceptualisées et investies par les artisanes. En analysant le contexte d’apprentissage et de pratique des artisanes, nous souhaitons apporter un éclairage sur comment s’accroche le social et la technique et ainsi expliquer les configurations techniques observées au sein de la région d’étude.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Williams, Emily. "Threads of Identity: Marisol's Exploration of Self." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1566.
Full textAbstract:
Marisol Escobar, known in the 1960s as the "Latin Garbo," is a sculptor famous for showing with the Pop art greats. However, Marisol holds a curious position in art history, stranded between the formalism of the fifties' and sixties' male-dominated Pop movement and the conceptual experimentation and radicalism that followed. Trained as a draftsman and painter early in her career, Marisol's main body of work mostly consists of large-scale wooden and mixed-medium sculpture. Lesser known, her lithographs, drawings, collages and small figurines further prove her technical and artistic validity. Preferring to go by surname only, Marisol’s quiet yet intense observation pinpoints the overriding human elements present in the objects of her scrutiny. Most notable for turning her gaze inwards, her self-portraiture defies easy categorization. Meshing American art and non-Western art styles while bridging the gap between intellectual understanding and empathetic approachability, Marisol represents a unique perspective that remains relevant today. Marisol's approach to self-portraiture is, first and foremost, in service to the exploration of her own identity. Furthermore, her choice of subject matter, artistic methodology and style appear closely aligned with Postmodern discourse. Each period of her work from the 1950s to the present day includes different guises and methods that subtly critique societal roles and norms, all presented through the lens of the artist's acute wit. Internationalism, gender roles, and explorations of identity are inherent in each of her works, proving that Marisol deserves further examination to explore her relation to Postmodern thought.B.A.
Bachelors
Arts and Humanities
Visual Arts and Design
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Gleyze, Valentin. "Alina Szapocznikow à Paris (1963-1973) : une histoire culturelle du champ élargi de la sculpture en France au tournant des années 1960." Electronic Thesis or Diss., Rennes 2, 2023. http://www.theses.fr/2023REN20042.
Full textAbstract:
La dernière décennie de carrière de la sculptrice polonaise Alina Szapocznikow (1926-1973) à Paris constitue un cas d'étude particulièrement riche pour l'histoire de l'art. De fait, si la production de l'artiste entre son installation définitive dans la capitale française en 1963 et son décès en 1973 relève bien de la sculpture, elle en conteste les moyens traditionnels. Son recours au plastique, au moulage, aux objets readymades, sa dématérialisation croissante (en lien avec l'art conceptuel), son statut utilitaire (dans le cas d'objets de design) la pousse vers ce qu'on a pu nommer le << champ élargi » de cette catégorie, de façon très singulière. La thèse vise ainsi à ouvrir l'œuvre de Szapocznikow, à l'aune d'une histoire culturelle de ce champ élargi de la sculpture, qui la situe dans une histoire des matériaux, des expositions, de la critique d'art et du marché, en la faisant dialoguer avec d'autres artistes qui lui sont contemporain es. Notre étude est construite en deux moments, qui sont deux dépliages de la production de Szapocznikow à Paris. La première partie porte sur les expérimentations de Szapocznikow, et d'autres artistes, autour de l'objet utilitaire, dans le sillage de l'exposition « Antagonismes 2 - L'Objet » organisée en 1962 au musée des Arts décoratifs, qui provoque un débat essentiel à l'égard du rôle joué par les artistes dans l'invention des « formes utiles ». La seconde partie porte sur les dernières années de Szapocznikow, quand son expérience du cancer ravivant le traumatisme des camps de concentration aboutit à une mythologie individuelle qui sert une narration de soi comme corps se préparant à mourir de façon prochaineThe last decade of the Polish sculptor Alina Szapocznikow's (1926-1973) career in Paris is a particularly rich case study for art history. Indeed, while the artist's work between her establishment in the French capital in 1963 and her death in 1973 belonged to sculpture, she challenged its traditional means. Its use of plastic, moulding and readymade objects, its increasing dematerialisation (in connection with conceptual art) and its utilitarian status (in the case of design objects) pushes its towards what has been called the "expanded field" of this medium, in a very singular way. The thesis thus aims to open up Szapocznikow's work in the light of a cultural history of this expanded field of sculpture, situating it within a history of materials, exhibitions, art criticism and the market, and placing it in dialogue with other artists of its time. Our study is divided into two parts which are two unfoldings of Szapocznikow's production in Paris. The first part looks at Szapocznikow and other artists' experiments with the utilitarian object, in the wake of the 1962 exhibition "Antagonismes 2 – L'Objet" at the Musée des Arts Décoratifs, which sparked a vital debate about the role played by artists in inventing "useful forms”. The second part focuses on Szapocznikow's final years, when her experience of cancer reviving the trauma of the concentration camps results in an individual mythology that serves a narrative of the self as a body preparing for imminent death
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Rycroft, Vanessa. "South African history painting : reinterpretation by women artists." Thesis, 1996. http://hdl.handle.net/10413/5723.
Full textAbstract:
The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their
paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa
through their visual presentations. The work of Siopis and Skotnes
reflectects an interest in Postcoloniality. Furthernore, their visual
imagery addresses questions of culture and power in South African
visual representation. Works such as those created by Siopis and
Skotnes can be seen as uncovering some of the contradictions within the
process of decolonization. Nederveen, Pieterse and Parekh (1995 )
describe decolonization in the following way:
'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and
state. (Nederveen, Pieterse and Parekh 1995: 11)'
The focus in this dissertation is on the works of Siopis and Skotnes
and their use of specific deconstructive methods to undermine
prejudicial historical imagery and question established perceptions
within South African history. In other words, the visual presentation
of these two artists explores the boundaries or margins of established
history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been
subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective
art works. In the first chapter selected works from Siopis's 'History
Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation.Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.
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Kühl, Tania. "Personal history and collective memory : images of social and political history in the art of four South African women artists." Thesis, 2010. http://hdl.handle.net/10413/1043.
Full textAbstract:
This study examines the means by which four South African woman artists, namely Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl use memory and history as themes to represent social and political events in South Africa. The foundation of this investigation is a critical study of the meaning of history and memory within the context of the candidate’s contemporary social and political milieu. This investigation is facilitated by a number of published and unpublished works by various authors relating to the issues in visual arts; particularly social and political history as applied to personal memory and history. Chapter one explores these terms particularly in relation to the visual arts. Chapter one identifies terms that are vital to the dissertation and some of the literature and methodologies used in the research. These are divided into the subheadings of: terms; women, politics and art; art and documentary photography; literature review; methodology and conclusion.. Examples of each artist’s work are selected for a comprehensive analysis in chapter two. These examples are methodically studied by media and techniques used to produce the artworks and include a critical analysis of the subject matter of the artwork. The examples were selected primarily for their content in connection with the candidate’s own productions of practical work towards the MAFA degree. Chapter two is divided into four main sections, one dedicated to each artist: Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl. These four sections are divided into three subsections: medium and techniques; subject matter and conclusion. Chapter three points out similarities and differences in the work of the four selected artists in order to conclude the candidate’s findings during the dissertation.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
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Filippone, Christine. "Science, technology and utopias in the work of contemporary women artists." 2009. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000051344.
Full text
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Topliss, Helen. "Australian female artists and modernism, 1900-1940." Phd thesis, 1992. http://hdl.handle.net/1885/133859.
Full textAbstract:
The thesis provides a revaluation of the art of Australian women artists in the
period 1900-1940. In the first instance, this study attempts to answer the
question posed by a number of male historians: "Why were there so many
succesful Australian women artists in the period between the two world wars?"
My answer has involved the analysis of three major phenomena:
1. The women's emancipation movement which enfranchised women and
gave them the key to education and subsequently to the professions.
2. The women artists of the early twentieth century were the direct benefactors
of the women's movement, the confidence that the new woman acquired
enabled her to continue her studies abroad for the first time in significant
numbers.
3. Women artists became identified with modernism and also for their
contribution to the arts and crafts movement. Critics have noted that there was
a large proportion of women artists involved with various aspects of the
modernist movement. The question has not been examined before in
Australian art because there has not been any enquiry into their collective
artistic genealogies, nor has the interconnectedness of much of their art been
noticed before. When this is analysed, it becomes clear that women had a
special affinity with aspects of modernism because of their gendered artistic
education in the nineteenth century which rendered them particularly sensitive
to some aspects of modernism. This is clear in most of the case studies of the
women artists whose careers I examine here.
My study has been conducted from the point of view established by certain
feminist critics and art historians whose theories have provided an important
perspective on the art of this period. This perspective is a necessary one, it
hinges on the concepr of "difference" in women's artistic expression. This
theory of "difference" also provides a parallel to the sociological study of women's liberation at the beginning of this century (the data for which IS
provided in the Appendices at the end of the thesis). The theory of "difference"
can be seen to link up with an analysis of gendered art education and thus
facilitates an understanding of why it was that so many women readily
pursued the criteria for modernist art.
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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/928250.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action, is used as a framework to examine the success of the Low Show group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. Newcastle’s background as a convict settlement and an industrial centre had developed a working class culture with a strong masculine influence. While some individual women artists were able to develop a career in fine arts, there was a long battle to establish a city art gallery and in 1961 there were no commercial galleries. The formation of the Low Show Group is shown to be as much about the society in which they lived as their artistic ambitions. The development of the Newcastle Technical Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show artists first as students of this school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and a promising future of the fine arts in Newcastle.
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Pillay, Thavamani. "The artistic practices of contemporary South African Indian women artists : how race, class and gender affect the making of visual art." Diss., 2014. http://hdl.handle.net/10500/18736.
Full textAbstract:
In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women's roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women. have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists' lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism.Art History, Visual Arts & Musicology
M.A. (Art History)
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Dirgantaro, W. "Defining experiences : feminisms and contemporary art in Indonesia." Thesis, 2014. https://eprints.utas.edu.au/22606/1/Whole-Dirgantoro-thesis-p.pdf.
Full textAbstract:
This thesis explores the relationship between feminisms and visual arts in Indonesia.
Focusing on works by Indonesian women artists produced from the 1940s until the present
day, it provides a new understanding of the history of Indonesian modern and
contemporary art from a feminist perspective. Its main aim is not only to analyze the actual
works of Indonesian women artists historically and today, but also to illuminate the sociocultural
and political contexts in which the artists worked through feminist reading.
Feminisms are often regarded as a purely Western concept that is irrelevant to the
Indonesian context, but during a brief period of time after 1998, there was a surge in the
Indonesian mainstream consciousness about gender issues. Feminist scholars, activists and
cultural workers successfully created a discursive space in the mainstream media to discuss
issues which were previously taboo, such as the politics of the female body, domestic
violence, sexual abuse and more. Women artists such as Arahmaiani and Titarubi made
significant contributions to this discourse, for example through their critical installation and
performance art pieces.
The thesis sets out to explore the works of these and other women artists, employing
multiple methodological approaches from psychoanalysis to semiotics in order to construct
a framework for an active re-reading and re-visioning of Indonesian art discourses.
Strategies of correction and interrogation are applied to both critically asses the patriarchal
structure of the Indonesian art world and revise the existing readings of works by women
artists.
By looking beyond the labeling but not rejecting the term itself, the thesis highlights a
trajectory of change in the way feminisms operates in Indonesian visual arts. As important
drivers of this process of change, Indonesian women artists neither resist patriarchy in a
‘politically correct’ way nor revel in eroticism, but steer a course between these two
positions. Furthermore, the thesis demonstrates how works by Indonesian women artists
can include difference and absorb ambiguity within their frame of reference, thus avoiding
the totalising and exclusionary practices sometimes associated with feminisms.