Journal articles: 'Women artists – history'

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

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Mettler, Liselotte. "Women Surgeons And Women Artists “History, Power, Challenges And Opportunities”." Reproductive Medicine, Gynecology & Obstetrics 5, no. 4 (November 6, 2020): 1–6. http://dx.doi.org/10.24966/rmgo-2574/100062.

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This article was written after “women’s surgeon lunch meeting” was organized by European Society of Gynecological Endoscopy (ESGE) during their annual conference in August 2019 at Thessaloniki, Greece.

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Weatherford, K. J. "Courageous Souls: Kate Chopin's Women Artists." American Studies in Scandinavia 26, no. 2 (September 1, 1994): 96–112. http://dx.doi.org/10.22439/asca.v26i2.1457.

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Klein, Bettina, and Patricia Fister. "Japanese Women Artists, 1600-1900." Monumenta Nipponica 44, no. 1 (1989): 128. http://dx.doi.org/10.2307/2384710.

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Kevin, Catherine. "So Fine. Contemporary Australian Women Artists Make History." History Australia 16, no. 1 (January 2, 2019): 212–14. http://dx.doi.org/10.1080/14490854.2019.1582410.

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Muñoz López, Pilar. "Las publicaciones y la investigación sobre mujeres artistas en España." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 317. http://dx.doi.org/10.25115/raudem.v3i0.633.

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Resumen: El tema de las mujeres artistas ha sido escasamente tratado en la abundante bibliografía de Historia del Arte. La mayor parte de las publicaciones que se han editado en los últimos años son fundamentalmente de carácter divulgatorio de la actividad de las artistas en el contexto internacional y en nuestro país. En el artículo se revisan los libros y artículos publicados y, finalmente, se exponen los contenidos de mi obra Artistas españolas en la dictadura de Franco. 1939-1975, que, desde una perspectiva histórica, trata de dar a conocer la actividad creativa de muchas artistas españolas en este periodo histórico. Publications and Research about Women Artists in Spain Abstract: The topic of Women Artists has been hardly presented in abundant bibliography of Art History. The majority of publications issued in latest years are popular science books about the activity of artists in an international context and in our country. In this paper I revise books and articles, and finally, I thoroughly explain thoroughly the contents of my book Artistas españolas en la dictadura de Franco. 1939-1975, which from an historic perspective, attempts to show the prominence of creative activity from many Spanish women artists in this historic period.

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Simpson, Pamela H., and Nancy G. Heller. "Women Artists: An Illustrated History, Revised and Expanded Edition." Woman's Art Journal 13, no. 1 (1992): 49. http://dx.doi.org/10.2307/1358264.

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Rowe, Dorothy. "Women Artists and the Limits of Modernist Art History." Art History 23, no. 1 (March 2000): 130–29. http://dx.doi.org/10.1111/1467-8365.00200.

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Johnson, Deborah, Mirella Bentivoglio, and Franca Zoccoli. "Women Artists of Italian Futurism: Almost Lost to History." Art Journal 57, no. 3 (1998): 98. http://dx.doi.org/10.2307/777981.

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Matynia, Elzbieta. "Poland Provoked: How Women Artists En-Gender Democracy." Current History 105, no. 689 (March 1, 2006): 132–38. http://dx.doi.org/10.1525/curh.2006.105.689.132.

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It is women artists who, by entering into an open debate with central elements of the Polish cultural tradition, pose the main questions concerning the nature of democratic citizenship, toleration, and pluralism.

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Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.

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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobiographical approach. For cultural identity, dynamic interaction between the culture of the artist’s homeland and that of her host country play a vital role throughout their art practices. Rather than using elements of typical Chinese cultural heritage, women artists tend to engage in cultural emblems, which connect to their personal-gendered experiences. Albeit confronting the double otherness on cultural and gender identity in a foreign country, the experience of diaspora pushes women artists to pursue independence, self-awakening and broader world-views. With modern conceptions of gender, their practices, particularly the family-theme, convey reflections on the conventional ideology of the family, as well as traditional gender roles.

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Granados Posada, Cynthia. "Evocations: Honouring The Memory of Women Artists." Journal of Public Space 7, no. 3 (December 31, 2022): 131–42. http://dx.doi.org/10.32891/jps.v7i3.1590.

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The life and work of women artists has been, more often than not, neglected and excluded from history. There are artists, groups, authors and institutions around the world who have made and continue to make efforts to shed light on excluded artists by showing their work in exhibitions, compilations, websites or social media accounts. The ongoing project Evocations aims to honour some of those forgotten artists through the creation of artwork inspired by them. Until now, this project has consisted of four participatory public performance art pieces and a collective exhibition honouring eleven women artists who have not been properly recognised for their achievements. By undertaking these participatory performances in public space locations the art, ideas and lives of these women are drawn into the daily life of contemporary Mexico.

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Lasa Álvarez, María Begoña. "Women Artists and Activism in Ellen Clayton's "English Female Artists" (1876)." Oceánide 12 (February 9, 2020): 37–44. http://dx.doi.org/10.37668/oceanide.v12i.23.

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In her biographical compilation English Female Artists (1876), Ellen Clayton documented the lives of many talented and hard-working women as a means of bringing to light and celebrating their role in the history of art. Moreover, she also explored these artists’ biographies in order to problematize more general issues, thus entering into one of the most significant initiatives of the period: the movement for women’s rights, with proposals including the improvement of women’s education, their access to art academies, and the amelioration of laws regarding marriage, family and employment. Of particular interest are the lives of celebrated artists who were also leading activists in the period, such as Laura Herford, Eliza Bridell-Fox and Barbara Leigh Smith Bodichon. Therefore, this study aims to explore not only Clayton’s approach to female artists within the specific domain of art, but also the incursions that they made into broad social and political issues regarding women. Finally, the presence in various biographies of the term “sisters” is particularly revealing in that Clayton, through her text, could be said to be assembling as many women as possible, not just artists, as a means of fighting for their rights together as sisters.

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Laura R. Prieto. "Women Artists and the Power of Modernism." Journal of Women's History 21, no. 4 (2009): 185–95. http://dx.doi.org/10.1353/jowh.0.0122.

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Blanchard, Lara C. W. "Virtue and Women's Authorship in Chinese Art History: A Study of Yutai huashi (History of Painting from Jade Terrace)." Journal of Chinese Literature and Culture 10, no. 1 (April 1, 2023): 221–43. http://dx.doi.org/10.1215/23290048-10362457.

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Abstract Yutai huashi (History of Painting from Jade Terrace), published in 1837, is rare among Chinese art-historical texts, not only for its focus on women painters of the imperial period but also for its female authorship. While the text preserves information on women who painted, its acknowledged author, Tang Shuyu, draws connections between women authors (defined broadly here to include both artists and writers) and virtuous women. First, her organization of the text's first five chapters foregrounds the social identities of women painters—a system that hints at their virtue. Second, biographies of women painters who are filial, chaste, and/or faithful appear throughout, but these qualities are emphasized in the “Separate Record” at the book's end, the only section with significant amounts of new writing. Third, the text positions Tang Shuyu as a woman of virtue herself. Tang compiled materials for her book with contributions from her husband, Wang Yuansun, and she establishes herself as a figure deferential to authority, a woman who begins most passages with a source citation and never develops a clear editorial voice. Scholars of the history of Chinese art increasingly use gender as a category of analysis to understand the accomplishments of women artists and patrons as well as representations of female figures. This article analyzes Yutai huashi's gendered subjects and discussions of gender roles as a means of examining both the contributions of women authors and the priorities of Chinese art-historical writers.

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Akyel, Merve. "Caring Kind: Exploring Gender-based Violence Through Artworks by Women from or based in Turkey between 1980–2020." DIYÂR 4, no. 1 (2023): 100–122. http://dx.doi.org/10.5771/2625-9842-2023-1-100.

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Art opens new pathways for novel modes of engagement with feminism and the related history of theory, writing, and activism through transdisciplinary approaches. One pathway is the reflection of gender-based violence in artworks. This paper follows the traces of the patriarchal mindset and its reflections in various forms of gender-based violence in selected artworks of women artists based in or from Turkey between 1980 and 2020. This study has a specific focus on artists whose works are autobiographical, and who shift between experimental writing and visual art in their works. The resources for this study include artist interviews, artist books, Turkish art history literature that deal with the 1980–2020 period, archival material from artists, news articles, exhibition catalogues, art periodicals, as well as international literature on art writing as a feministic practice. Findings of this study indicate that art has the power of fore fronting, awareness raising, reframing, and thus transforming existing knowledge and commonly held beliefs concerning gender in a society through its various forms of expression.

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Paliwal, Anju, and Dr Giriraj Sharma. "WOMEN ARTISTS IN CONTEMPORARY INDIAN CERAMICS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (June 3, 2022): 377–88. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.120.

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Indian has a rich heritage of terracotta art. The history of terracotta/clay goes back to the Harappan Civilization. It is one of the oldest mediums of communication between people, whether for the barter system or as a medium of expression for the artists. ‘Pot’ in the Indian language is called a KUMBH and a person who makes it is called a KUMBHKAR. A different name of potter came to be known as 'Prajapati' creator of toys that came from Brahma who made man of clay. In traditional potter’s families, women were not allowed to work on the wheel. Women help in preparing the clay, making figures, and pain and decorating the ready pots. (Kempler, 2015)India is a patriarchal society, it is education that broke the age-old barriers and notions related to clay and brought self-sufficiency and self-consciousness for graceful living and honorable status in the society. Development of Art College in India after Independence encouraged many female students to learn different subjects like pottery, painting, sculpture, etc. All these subjects enhanced the technical knowledge of the students and paved their way into different art fields. Nirmala Patwardhan, Jyotsna Bhatt, Era Mukherjee, Shampa Shah, Dipalee Daroz, Manisha Bhattacharya, Kristine Michael, Madhavi Subramaniam are some of the artists who encouraged the future women ceramic artists in India.In the present study, we will discuss the contribution of women ceramic artists in contemporary Indian ceramics.

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Bell, Janis C., and Wendy Slatkin. "Women Artists in History: From Antiquity to the 20th Century." Woman's Art Journal 7, no. 2 (1986): 50. http://dx.doi.org/10.2307/1358308.

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Derderian, Elizabeth. "Engendering Change: Charting a History of the Emirates through Women Artists." Hawwa 19, no. 1 (February 22, 2021): 28–50. http://dx.doi.org/10.1163/15692086-bja10016.

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Abstract Contrary to narratives of universally positive modernization in the United Arab Emirates, this article draws on the lives and work of women artists to offer a more detailed view of the UAE’s rapid urbanization and development. First, the article shows how changing educational structures and systems led to the privileging of the English language, which has resulted in differential generational access to a contemporary art world that operates predominantly in English. Second, the article looks at the losses of urbanization illustrated by artists reflecting on the changing experience of community, gendered norms of public behavior, the role of buildings and monuments in navigation and identity, and resource exploitation.

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Kummerfeld, Rebecca. "Ethel A. Stephens’ “at home”: art education for girls and women." History of Education Review 44, no. 2 (October 5, 2015): 203–18. http://dx.doi.org/10.1108/her-04-2013-0013.

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Purpose – The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students. Design/methodology/approach – Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women. Findings – Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman. Originality/value – This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.

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Verma, Meenakshie. "Gender, Creativity and Insanity: From an Anthropologist’s Notebook." Anthropology – Open Journal 4, no. 1 (December 31, 2020): 9–14. http://dx.doi.org/10.17140/antpoj-4-120.

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This essay has emerged through my research engagements with life history as a research method in anthropology. It is based on the life events of a woman artist. The past few decades have brought an explosion of cultural criticisms and also explorations of women’s creative expressions across cultures. Some of the queries addressed are, how do external forces shape the creativity of female artists. Also, how do creative women respond to such forces? Creative women, then, have a unique relationship to their cultural contexts, as well as to the creative genre to which they respond. This essay also delves into myths related to insanity and women. It discusses creativity, as a mode of engagement with rigid social structures.

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Andrews, Julia F. "Women Artists in Twentieth-Century China." positions: asia critique 28, no. 1 (February 1, 2020): 19–64. http://dx.doi.org/10.1215/10679847-7913041.

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This article is a reflection on two intersecting themes, the rise of women as artists and as female subjects for art, in the context of the evolving status of women in twentieth-century China. Set in the context of the nascent modern education for women and the emergence of feminism, the two phenomena, like the art world itself, are primarily urban. After surveying the accelerating progress made between 1910 and 1940, it interrogates, in light of contemporary art world patterns and current definitions of feminism, the slowing and even regression in recognition of women as artists in subsequent years.

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Clark, Roger, Ashley R. Folgo, and Jane Pichette. "Have There Now Been Any Great Women Artists? An Investigation of the Visibility of Women Artists in Recent Art History Textbooks." Art Education 58, no. 3 (May 2005): 6–13. http://dx.doi.org/10.1080/00043125.2005.11651537.

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Faxon, Alicia Craig, and Lisa E. Farrington. "Creating Their Own Image: The History of African-American Women Artists." Woman's Art Journal 26, no. 2 (2005): 45. http://dx.doi.org/10.2307/3598099.

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Caffrey, Margaret M. "Creating Their Own Image: The History of African-American Women Artists." History: Reviews of New Books 33, no. 4 (January 2005): 132. http://dx.doi.org/10.1080/03612759.2005.10526614.

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Pardoe, Heather, and Maureen Lazarus. "Images of Botany: Celebrating the Contribution of Women to the History of Botanical Illustration." Collections: A Journal for Museum and Archives Professionals 14, no. 4 (December 2018): 547–67. http://dx.doi.org/10.1177/155019061801400409.

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The superb botanical illustration collection of Amgueddfa Cymru– National Museum Wales in Cardiff, Wales, has developed through bequests, donations, and selective purchases. Numbering more than 7,000 works, 15% of these are by women, including the work of well-known Victorian artists and leading contemporary artists such as Gillian Griffiths, Pauline Dean, and Dale Evans. In particular, the Cymmrodorion Collection is the most prestigious collection, containing illustrations dating from the 18th century and featuring works by Elizabeth Blackwell, Jane Loudon, and Sarah Drake. Using this and other collections from the museum, this article examines the contribution that women artists have made to the field of botanical illustration by referring to the lives of these women and considering their motives, whether they pursued botanical illustration out of financial necessity, out of scientific curiosity, or to allay boredom. The article further examines the social restrictions and prejudice that many of these women had to overcome.

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Loconte, Aislinn. ":Italian Women Artists from Renaissance to Baroque." Sixteenth Century Journal 40, no. 2 (June 1, 2009): 608–9. http://dx.doi.org/10.1086/scj40540754.

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Torregrosa, Marta. "Museos y género: una asignatura pendiente." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 184. http://dx.doi.org/10.7203/eari.10.14430.

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Resumen: El presente artículo trata de aproximarnos a la realidad representativa de las mujeres tanto en la historia del arte como en el escenario de las instituciones museísticas, desde una perspectiva de género. Emprenderemos un viaje a través de la historia, deambulando por las entrañas que estructuran la esfera cultural, observando las bases del discurso androcentrista que prevalece, aun hoy en día, en la realidad expositiva de los museos. Recorreremos la historia del arte, contemplando las múltiples y diversas representaciones que ha tenido la figura femenina a lo largo de la historia, además de la mirada del artista creador, quien ha perfilado la imagen de la mujer bajo su criterio, imponiendo unos estereotipos y roles que se han repetido a lo largo de los siglos. Transitaremos por las teorías desde un posicionamiento crítico en términos feministas, para descubrir la ausencia de las artistas en el arte y en el contexto de las instituciones culturales. Revisaremos las acciones y nuevas miradas que se han planteado a lo largo de los últimos años, para cuestionar la ausencia de figuras femeninas como sujetos activos y creadores, con el fin de alcanzar la inclusión de la mujer en ámbito artístico y cultural y así mismo, crear nuevos mapas cognitivos desde la igualdad de oportunidades y la recuperación de la memoria de las artistas, que han sido invisibilizadas en nuestra historia. Palabras clave: Museos, género, mujeres, representación, feminismo. Abstract: This article tries to approach the representative reality of women both in the history of art and in the setting of museum institutions, from a gender perspective. We will embark on a journey through history, wandering through the core that structures the cultural sphere, observing the foundations of the androcentric discourse that prevails, even today, in how museums show themselves. We will go through the history of art, contemplating the multiple and diverse representations that the female figure has had throughout history, as well as the creative artist, who has shaped the image of women according to his criteria, imposing stereotypes and roles that have been repeated over the centuries. We will go through the theories from a critical position in feminist terms, to discover the absence of artists in art and in the context of cultural institutions. We will review the actions and new perspectives that have been proposed over the last few years, to question the absence of female figures as active and creative subjects, in order to achieve the inclusion of women in the artistic and cultural sphere and also, to create new cognitive maps from the equality of opportunities and the recovery of the memory of the artists, that have been made invisible in our history. Keywords: Museums, gender, women, representation, feminism. DOI: http://dx.doi.org/10.7203/eari.10.14430

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Belova, Darya Nikolaevna. "Female images in Art Nouveau style." Культура и искусство, no. 10 (October 2021): 56–72. http://dx.doi.org/10.7256/2454-0625.2021.10.36452.

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This article analyzes the activity of the Art Nouveau artists of the late XIX – early XX centuries, and the reception of their works. The subject of this research is the works of both female and male artists, and their interinfluence. The article touches upon the topic of genders in art, difficulties of promoting the “female perspective” in the period of Art Nouveau. The article employs the comparative-historical, involving scientific materials on culturology, philosophy and art history; sociocultural approach towards historical events in the establishment of Art Nouveau. The relevance of this topic is substantiated by heightened interest to studying the phenomenon of Art Nouveau and the role of women in its formation. The novelty of this research consists in attempt to determine the specificity of female principle in Art Nouveau style, both as an artistic image that holds the leading place therein, and in the image of women artists who tried to implement their vision of female image in the art object. The conclusion is made that despite the shift in the worldview orientations and artistic paradigms of this period, women artists were experiencing major difficulties. The formation of the Art Nouveau style vividly manifested the features of the “new woman” in the works of women artists, emphasizing their uniqueness and artistic peculiarities. It is determined that the comprehension of multifacetedness of Art Nouveau style was greatly affected by women artists, whose works are still relevant today.

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Ferentinou, Victoria. "Surrealism, Occulture and Gender: Women Artists, Power and Occultism." Aries 13, no. 1 (January 1, 2013): 103–30. http://dx.doi.org/10.1163/15700593-01301006.

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Usborne, C., and M. Meskimmon. "Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck." German History 11, no. 3 (July 1, 1993): 346. http://dx.doi.org/10.1093/gh/11.3.346.

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Meskimmon, M. "Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck." German History 11, no. 3 (October 1, 1993): 346. http://dx.doi.org/10.1177/026635549301100305.

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Cobo-Piñero, Rocío. "Beyond Literature: Toni Morrison’s Musical and Visual Legacy For Black Women Artists." Feminismo/s, no. 40 (July 15, 2022): 27. http://dx.doi.org/10.14198/fem.2022.40.02.

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The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.

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Shtang, Sivan Rajuan. "A Natural-Worker Leaves the Colonial Visual Archive: The Art of Vered Nissim." Arts 12, no. 4 (July 28, 2023): 167. http://dx.doi.org/10.3390/arts12040167.

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The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim’s work challenges the racial category of Mizrahi women as “natural workers”, constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category’s paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim’s work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter’s camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually.

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Ma, Yan. "From Gaze to Rebel: A Study of Female Figures in Art History." Lecture Notes in Education Psychology and Public Media 50, no. 1 (April 26, 2024): 98–102. http://dx.doi.org/10.54254/2753-7048/50/20240897.

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This paper discusses the evolution of women's portrayal in art, from objectified figures in early history to empowered subjects in modern times. Initially, women were depicted through the male gaze, embodying idealized beauty or fulfilling societal roles. During the Renaissance, this trend continued with artists like Raffaello Santi, who focused on physical beauty but often overlooked real-life women's experiences. The paper then highlights a shift to representing everyday women, as seen in works like Jean Franois Millet's "The Gleaners," yet these portrayals still echoed traditional gender norms. The narrative progresses with the emergence of female artists challenging these conventional depictions. Figures like Kathe Kollwitz and Sylvia Sleigh reversed the male gaze, empowering women as active subjects in art. The paper concludes by emphasizing the transformation in art from objectifying women to portraying them as autonomous and influential, mirroring societal shifts in gender roles and perceptions.

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Olin, Ferris. "Institutional activism: documenting contemporary women artists in the United States." Art Libraries Journal 32, no. 1 (2007): 11–19. http://dx.doi.org/10.1017/s0307472200014802.

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The Margery Somers Foster Center, based at the Mabel Smith Douglass Library on the Douglass College campus of Rutgers, the State University of New Jersey, is a resource center and digital archive focused on women, scholarship and leadership. Numerous intersecting initiatives based at the center, library and university are making visible the lives, works and contributions to cultural history of contemporary women artists active in the United States.

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Pipkin, Amanda. "“They were not humans, but devils in human bodies”: Depictions of Sexual Violence and Spanish Tyranny as a Means of Fostering Identity in the Dutch Republic." Journal of Early Modern History 13, no. 4 (2009): 229–64. http://dx.doi.org/10.1163/138537809x12528970165109.

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AbstractFrom 1609 to 1648, the inhabitants of the nascent Dutch Republic faced various challenges as they worked to justify and ensure its continued existence. Many authors and artists deployed depictions of sexual violence as a potent tool to patch over political and religious disagreements among the Dutch by encouraging them to focus on the larger threat—their Spanish enemy. They propagated stories that vilified the Spanish in two ways: focusing on the literal raping women of the Low Countries as Phillip II's troops attempted to reassert his control there and the metaphoric violence of a people ruled by a tyrant who violated the traditional rights of the Dutch nation imagined as a vulnerable woman. Through depictions of rape, these authors and artists not only created an enemy against whom the Dutch could unite; they also generated the idea that treating women with proper care and respect was part of a Dutch (male) national character.

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Sirica, Inese. "Art Academy of Latvia Graphic Arts Alumnae Who Established the Principles of Latvian National Textile Art, 1931–1943." Acta Academiae Artium Vilnensis, no. 112 (January 9, 2024): 314–49. http://dx.doi.org/10.37522/aaav.112.2024.206.

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In the 1920s and 1930s, Latvian magazines featured original textile compositions by renowned male artists. Through my research of textile compositions of the famous Latvian artist and designer Jūlijs Madernieks, it became apparent that during this period, Latvian magazines also showcased textiles by lesser-known artists, particularly graduates of the Graphic Arts Workshop of the Art Academy of Latvia. Despite the significant role played by graphic artists in the formation and promotion of Latvian national textile art, their contributions remain largely unexplored. This research focuses on the popular women’s magazine Zeltene, which presented numerous original textile designs by Elza Druja, Marija Muceniece, Otomija Freiberga, and Kristine Pāvulina. Another focal point of this study is the state of textile crafts education in the third decade of the 20th century and its role in encouraging women to engage in textile art or crafts. The contributions of women to Latvian textile art during the 1920s and 1930s have not received adequate scholarly attention due to the occupation of Latvia by the Soviet Union and Nazi Germany in the 1940s, as well as subsequent constraints imposed on Latvian art historians by the Soviet regime. This paper marks an initial stage in the development of Latvian textile art history, with a particular emphasis on female textile artists.

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Köse, Zuhal, and Gülsün Şahan. "A view of women in painting from the past to the present: the image of women in art and women painters." Journal of Human Sciences 18, no. 3 (July 31, 2021): 431–49. http://dx.doi.org/10.14687/jhs.v18i3.6151.

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The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed. Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed.

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Jakubowska, Agata. "Feminist art and art history in state socialist Poland, as seen through all-women exhibitions." MODOS: Revista de História da Arte 7, no. 2 (May 30, 2023): 94–119. http://dx.doi.org/10.20396/modos.v7i2.8672671.

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This essay discusses the relationship between feminism and the art world in state socialist Poland. Contrary to the narrations that are centred around the second-wave feminism developed in the West, this essay concentrates on the significance of the socialist project of the emancipation of women. Its meaning is demonstrated through the study of all-women exhibitions, more precisely of three shows that were organised at those moments when women’s issues were intensively discussed in Poland: Women Fighting for Peace (Cracow, 1952), Women’s Art Festival (Poznań, 1980), and Polish Women Artists (Warsaw, 1991). The main questions addressed in the analysis are what discourses on women and women artists influenced the art world at a given period and how they evolved concerning the changing political situation. The study shows that the socialist project of women’s emancipation played an important role, both positively and negatively, in the development of feminist art history and activism in Poland.

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Fajardo-Hill, Cecilia. "Radical Women." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 81–91. http://dx.doi.org/10.1525/lavc.2023.5.2.81.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.

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Harrah-Johnson, Jeanne. "Women and Ledger Art: Four Contemporary Native American Artists. By Richard Pearce." Oral History Review 43, no. 1 (April 1, 2016): 232–34. http://dx.doi.org/10.1093/ohr/ohw012.

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Greenhill Hannum, Gillian. "Keeping the Faith." Religion and the Arts 27, no. 1-2 (April 11, 2023): 1–14. http://dx.doi.org/10.1163/15685292-02701001.

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Abstract In many cultures, women are the “keepers of the faith,” despite the fact that masculine pronouns are often used to identify deity or deities in most of the world’s major religions. In addition, many foundational leaders of these faiths were male—Abraham, Moses, Jesus, Muhammed, and Siddhartha Gautama (the Buddha). This double issue of Religion and the Arts seeks to explore the ways in which contemporary artists who identify as women or are non-binary or third gender engage with spirituality, both in the context of different faith traditions and as unaffiliated spiritual seekers. The essays include: Scholarly explorations of contemporary artists’ engagement with religion and/or spirituality in the context of cultural roots; faith, religion and/or spirituality as a source of inspiration in art making for women artists, inclusive of trans and gender non-conforming people; relationships between religious traditions and gender fluidity as explored by contemporary artists; consideration of how women and gender non-conforming artists around the world are grappling with religiosity in their cultures and personal artistic practices; and the role of contemporary art made by women and/or gender-fluid artists in encouraging dialogue around religious belief.

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Savilonis, Margaret F. "Women, Modernism, & Performance." Theatre Survey 47, no. 1 (April 13, 2006): 142–44. http://dx.doi.org/10.1017/s0040557406360097.

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Penny Farfan's Women, Modernism, & Performance, six intricately woven essays about a handful of late nineteenth- and early twentieth-century female artists, is an absorbing study centered on the premise that “the feminist-modernist aesthetics of key figures in the fields of dance and literature developed in part out of their engagement with dramatic literature and theatrical practice, making their lives and work a part of theatre history” (2). Employing broad definitions of both performance and modernism, Farfan casts a wide net, adopting what she describes as a “‘maximalist’ approach” (117) to construct her arguments about these artists' contributions to “the transformation of the representation of gender in both art and life” (119). Her consideration of public performances such as courtroom trials, lectures, and “the performance of gender in the practice of everyday life” (3) informs her analysis of literary, critical, and performance texts to intriguing effect. In the process, Farfan delineates the cultural landscape out of which these women and their work emerged.

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Baker Mohammed Al-Abbas, Mohammed. "Portraying the Arab Intellectual in Visual Media: A Sociological Analysis of the Plastic Artist’s Identity in Shaghaf TV Series." Dirasat: Human and Social Sciences 49, no. 6 (December 30, 2022): 24–37. http://dx.doi.org/10.35516/hum.v49i6:.3982.

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This research aims to explore the socio-visual possibilities of artistic identity through Arab media. It focuses on the “Shaghaf” series, a drama show that was podcasted during Ramadan month 2020. This paper critiques several visual elements, the first element is the image of the plastic artist, the second is the fourth dimension that consists of time, space, and movement and the third element is the representations of social reality and its psychosocial dilemmas. Furthermore, this paper negotiates dramatic intersections within the literature that discourses the Death of Art and the Death of Author by postmodern philosophies. The present critique deconstructed the aesthetic approaches integrated within the unit of analysis, which is the artists’ identity. This identity transforms through a symbolic duality between latent and manifest representations in the public versus private social spaces. The research discussed the critical need to manage the cultural content in the media as well as to focus on the positive role of the artist in society. The present paper resists stereotyping less privileged people of physical/social/psychological needs, and any exclusionary content in media that defines them as socially unfamiliar. Finally, this paper is significant because it focuses on the woman artist's identity as a social construction in the Arab media, as women artists are underrepresented in visual media in general. Furthermore, Art Sociology, as an approach in Fine Arts Studies, presented an advancement in the specialty and does not exclude the philosophies of Aesthetics and Art History but rather conceptualizes theories with qualitative and quantitative methodologies.

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Tejeda Martín, Isabel. "Exposiciones de mujeres y exposiciones feministas en España. Un recorrido por algunos proyectos realizados desde la II República hasta hoy, con acentos puestos en lo autobiográfico = Women’s Exhibitions and Feminist Exhibitions in Spain: A Journey Through some Projects Carried out Since The 2nd Republic until the Present, with some Biographical Highlights." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 29. http://dx.doi.org/10.5944/etfvii.8.2020.28770.

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Este artículo repasa la historia de las exposiciones de mujeres en España desde los años treinta, como precedente de las primeras exposiciones feministas de los años noventa, contextualizándolas en su momento político. Profundiza en algunos de los proyectos comisariados por la autora, en los que rescata a artistas ignoradas por las historias del arte contemporáneo, especialmente las artistas Pop de los años sesenta, como pioneras del arte feminista.AbstractThis essay examines the history of women’s exhibitions in Spain since the 1930s, considering said shows as a precedent for the first feminist exhibitions in the 1990s, and providing them with a context within their political time. This text delves in some of the projects curated by the author, in which she rescued a number of women artists who had been ignored by the usual histories of contemporary art –especially the female Pop artists from the 1970s– as pioneers of feminist art.

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Silver, Larry. ":Women Artists and Patrons in the Netherlands, 1500–1700." Sixteenth Century Journal 52, no. 3 (September 1, 2021): 712–15. http://dx.doi.org/10.1086/scj5203105.

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Ater, Renée. "Creating Their Own Image: A History of African-American Women Artists: African Queen." African Arts 38, no. 2 (July 1, 2005): 82–83. http://dx.doi.org/10.1162/afar.2005.38.2.82.

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Choi, Sooran. "Art-Kut! The Counter-Cultural and Feminist Spirituality of Shamanism in Postwar South Korean Art." Religion and the Arts 27, no. 1-2 (April 11, 2023): 86–106. http://dx.doi.org/10.1163/15685292-02701012.

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Abstract On 17 January 1981, during a cold Winter Day at the height of an authoritarian military regime, a group of South Korean artists named “Baggat Misul [Outdoor Art]” gathered around a riverbank outside Seoul to interact with nature and called it “jayeon misul [nature art].” A young woman artist Yong-sin Suh performed an act the group called “a lark,” during which Suh alternated with two male artists in reading aloud sections of newspaper articles. These unhinged, free-spirited acts were inspired by the Korean folk theater tradition of pansori (traditional Korean musical opera), and kut (traditional Korean shamanistic exorcism). Korean shamanism by way of the mudang kut rituals has historically been a Korean indigenous belief intertwined with Buddhism and Taoism and stood as a counterforce to the mainstream nationalist neo-Confucian and imperial Christian conservative legacy that oppressed women and the nonconforming gender-neutral community in South Korea. The paper analyzes the Korean shamanistic elements that were utilized in performative, conceptual, and nature art practices by South Korean artists in the post-WWII period to the present, within the framework of the intersection of Korean feminism, art activism, and shamanistic spirituality.

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Minioudaki, Kalliopi. "On the Cusp of Feminism: Women Artists in the Sixties." Konsthistorisk tidskrift/Journal of Art History 83, no. 2 (April 3, 2014): 59–66. http://dx.doi.org/10.1080/00233609.2014.907648.

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Journal articles on the topic 'Women artists – history'

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