To see the other types of publications on this topic, follow the link: Women artists Nude in art.
Journal articles on the topic 'Women artists Nude in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Women artists Nude in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.
Full textAbstract:
The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.
2
Kudelska, Dorota. "What the Polish Mother Does Not Say. Zbylut Grzywacz Against the Myth." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 103–23. http://dx.doi.org/10.18290/rh.2019.68.4-5en.
Full textAbstract:
The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014).
The article presents the art of Zbylut Grzywacz in the context of his post-mortem exhibition in the Kraków National Museum in 2009. The subjects of the analysis are his paintings from the 1970s and 1980s, presenting women through a simple rough treatment of human body form, without an academic idealization. The destruction of the form conforms to the deconstruction of the myth of a Polish Mother. It is due to the change of a social position of the figures whom Grzywacz gives the roles of guardians of tradition, as well as due to their mental and moral degradation. The artist uses an irony in showing his knowledge of the tradition of showing a human body in an academic nude (what he denies), in a Flemish art of showing torn animal meat (with the Rembrandt’s reflection) and Holbein’s tradition of the post-mortem decay (The Body of the Dead Christ in the Tomb). One of the main themes in Grzywacz’s paintings is the loneliness, especially distinct in a representation of symbolically naked persons among insensible pedestrians. The Polish Mother—here she doesn’t belong to any society.
The explicitness and the picturesque materiality covers a certain “crack” in the world presented inside the hard-to-comprehend present-day multitude of Grzywacz’s paintings. Behind the cover of the foreground tale, as one could think on the basis of the sketchbooks, there is a kind of an “unpresented world”, in which the author incessantly tells us about the pain of his existence with no anaesthetization by grotesque.
3
Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.
Full textAbstract:
As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
4
del Mar Pérez-Gil, María. "Undressing the Virgin Mary: Nudity and Gendered Art." Feminist Theology 25, no. 2 (January 2017): 208–21. http://dx.doi.org/10.1177/0966735016679907.
Full textAbstract:
Stripping the Virgin Mary of the myths, stories, and dogmas surrounding her is a task that has particularly appealed to a branch of feminist theology which seeks to reclaim her as a figure of female empowerment. This article aims to explore the transformation of Mary’s body into an element of resistance in the work of some contemporary artists. By depicting her nude or semi-nude, artists disrupt the gender values commonly associated with the Virgin and open up alternative possibilities of affirmative selfhood through her body. I contend that, in these works, the Virgin’s body functions as a ‘relational’ body that enters into dialogue with hitherto marginalized categories, such as the carnal, the sensual, the notion of fleshly materiality, or even the excluded sexualities of transgender people.
5
Samu, Margaret. "The Nude in Eighteenth- and Nineteenth-Century Russian Sculpture." Experiment 18, no. 1 (2012): 33–60. http://dx.doi.org/10.1163/221173012x643044.
Full textAbstract:
Abstract This article analyzes Russian attitudes toward nudity in art in the eighteenth and nineteenth centuries, from the importation of Italian nudes by Peter the Great to the continued study of the nude model by Socialist Realist artists. Questions addressed include the reception of nude sculpture in Russia and its change over time; the role of life models; and the subject matter sculptors chose.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
Faulkner, Kristi. "Women, Protest, and Dance: An Activist Art?" Congress on Research in Dance Conference Proceedings 40, S1 (2008): 90–94. http://dx.doi.org/10.1017/s2049125500000558.
Full textAbstract:
As members of society, artists have historically served a dualistic purpose—to reflect the ideologies of the world in which they live, and to challenge those ideologies. By challenging ideologies, artists may enter into a world of social and political activism. However, can art be an effective form of protest? In this paper I explore the characteristics that allow dance to function as a form of social and political activism. Furthermore, I explore the potential implications of the female dancing body as it pertains to dance as an activist art form.
9
Dekel, Tal. "Art and Struggle: Ethiopian Women Artists in Israel." International Journal of the Arts in Society: Annual Review 3, no. 5 (2009): 43–52. http://dx.doi.org/10.18848/1833-1866/cgp/v03i05/35521.
Full text
10
Schaefer, Jean Owens, Edith Krull, and Janet Wolff. "Marxism, the Sociology of Art, and Women Artists." Woman's Art Journal 12, no. 1 (1991): 53. http://dx.doi.org/10.2307/1358194.
Full text
11
Gordon Atkinson, Anne. "Women in Art." Journal of Baha’i Studies 4, no. 2 (1991): 1–10. http://dx.doi.org/10.31581/jbs-4.2.1(1991).
Full textAbstract:
Though creativity has often been associated with women, historically and in the present there have been many impediments to achievement by women in art. Often relegated to the role of the “muse,” women have been expected to inspire men’s creativity but not develop their own. Household responsibilities, the rearing of children, poverty, and lack of education, support, and encouragement have been among the reasons there have been few “great” women artists. Often work by women was never discovered, was published or presented anonymously, or was credited to a male. The Bahá’í writings state that women should receive equal opportunities for education, should participate in all avenues of human endeavor, and should become proficient in the arts and sciences. Men are called upon to affirm that the capacity of women is equal to and even greater than theirs, in order to foster the development of women. In a world in which both sexes are free to express their creativity, great advances will be made.
12
Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
Full textAbstract:
"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
13
Hoover, Deborah A. "Revealing the Mbusa as Art Women Artists in Zambia." African Arts 33, no. 3 (2000): 40. http://dx.doi.org/10.2307/3337688.
Full text
14
Porada, Zbigniew. "Polish Women Artists in Olympic Art Competitions 1928–1948." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Kultura Fizyczna 16, no. 4 (2017): 27–53. http://dx.doi.org/10.16926/kf.2017.16.36.
Full text
15
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.
Full text
16
Firstenberg, L. "GENDERED VISIONS: THE ART OF CONTEMPORARY AFRICANA WOMEN ARTISTS." Nka Journal of Contemporary African Art 1998, no. 9 (September 1, 1998): 70. http://dx.doi.org/10.1215/10757163-9-1-70.
Full text
17
Scheid, Kirsten. "NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE." International Journal of Middle East Studies 42, no. 2 (April 13, 2010): 230a. http://dx.doi.org/10.1017/s0020743810000334.
Full textAbstract:
In Beirut between 1920 and 1940, the fine-art nude was a necessary genre. Exhibitions of these pictures put audiences on display as much as nudes. Thus, these events enable probing the role of art at intercultural junctures and understanding the experience of self-modernizing subjects outside metropolitan locales. Al-ḥadātha and al-muʿāṣira are analyzed as complementary but noninterchangeable aspects of the modernizing project, to argue that viewing art and appreciating nudes were necessary components of an urban, modern identity for Mandate-era Beirutis. The concept of dislocation is introduced to explore why artists such as Moustapha Farroukh employed academic art formulae to intervene in representational conventions and, in doing so, dislocated common ways of seeing and relating to “Easterners.” Nude paintings evince the importance of intellectuals’ physical and aesthetic experiences in the production of modernity. Moreover, they complicate the common idea that “authenticity” opposed “modernity” in Arab and colonial settings.
18
Soliman, Asmaa. "Muslim Women’s Self-Representation in Art." Religion and Gender 9, no. 2 (December 10, 2019): 170–93. http://dx.doi.org/10.1163/18785417-00902002.
Full textAbstract:
Abstract This article examines German Muslim women’s artistic self-representation arguing that their public engagement can be seen as an example of counterpublics. Two main features can be found. First, the artists feel disappointed by the mainstream public, as it excludes and misrepresents Muslim women. Second, an agitational orientation can be observed, as the artists intend to offer explicitly articulated alternative self-representations targeting the mainstream public. The normality of their female German Muslim identity is conveyed. The very fact that the artists aim to challenge dominant stereotypes about Muslim women reveals the stereotypes’ strong influence on their self-representation. Due to their Muslim and female identity, Muslim women in the West face several exertions of power. The theory of intersectionality shows that their self-representation can be seen as a refusal to serve as an object of the male gaze, as well as the non-Muslim German gaze.
19
Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.
Full textAbstract:
Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
20
Terpesheva, Dobromira. "Where are the Women on the whole Scene of Art?" Sledva : Journal for University Culture, no. 39 (August 20, 2019): 26–35. http://dx.doi.org/10.33919/sledva.19.39.5.
Full textAbstract:
The text offers an analysis of the role of women in art and society today and poses fundamental questions regarding the visibility of female artists in Bulgaria. This study was created in connection with the Women's Artistic Projects Fund, a project of the Bulgarian Women's Fund. The fund aims to act against the under-representation of women in the professional arts and the cultural sector, to give visibility to the creativity of female artists and to increase their access to financial resources.
21
Alrasheed, Ibtesam S., and Mohrah Hamed Sakr. "Role of Arabian female plastic artists in the art market: A comparative analysis study on selected samples of Arab countries." Arte, Individuo y Sociedad 32, no. 4 (July 23, 2020): 1009–38. http://dx.doi.org/10.5209/aris.66088.
Full textAbstract:
When we try to recall the most famous artworks, what immediately comes to mind are works by male western artists, which makes us wonder about the role of women, especially Arabian women in the art world. This research utilizes the comparative analytical method to discuss the role of female Arabian artists in the Arab region and the western world’s art market. By first gathering data pertaining to works sold at auctions by female Arabian artists from the 20th and the 21st centuries, and who belong to both the eastern and western ends of the Arab world. Then analyzing and comparing the data to understand where women artists of the Arab world fit in the Arabian and Middle Eastern region art market. And to also understand the status of female versus male artist by comparing the highest prices reached by a work of art sold at an auction for artists of both sexes Arabian or western. Results show clear supremacy of male versus female artists in the art market whether in the Arab or the western worlds leading to the conclusion that women’s work is still valued significantly lower than that of men.
22
Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress." Art Libraries Journal 20, no. 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.
Full textAbstract:
The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).
23
Witkowska, Sylwia. "POLISH FEMINISM – PARADIGMS." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 192–239. http://dx.doi.org/10.5604/01.3001.0012.9836.
Full textAbstract:
Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
24
Witkowska, Sylwia. "Polski feminizm - paradygmaty." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 194–241. http://dx.doi.org/10.5604/01.3001.0012.9855.
Full textAbstract:
The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The statement that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photography or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
25
Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.
Full textAbstract:
Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.
26
Tone-Pah-Hote, Jenny. "Women and Ledger Art: Four Contemporary Native American Artists (Pearce)." Museum Anthropology Review 9, no. 1-2 (July 22, 2015): 204–5. http://dx.doi.org/10.14434/mar.v9i1-2.19518.
Full text
27
Ernstrom, Adele M., and Gunda Lambton. "Stealing the Show: Seven Women Artists in Canadian Public Art." Woman's Art Journal 18, no. 2 (1997): 53. http://dx.doi.org/10.2307/1358558.
Full text
28
Jakubowska, Agata. "Meetings: Exhibitions of Women’s Art Curated by Izabella Gustowska." Ikonotheka 26 (June 26, 2017): 291–311. http://dx.doi.org/10.5604/01.3001.0010.1743.
Full textAbstract:
In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkania – Obecność III (1992, Poznań), Presence IV – 6 Women (1994, Galeria La Coupole, Rennes) and Osiem dni tygodnia (2011, Szczecin). To consider them a cycle and to analyse them under the joint title of Spotkania is the author’s own interpretative approach based on the observation that, in their case, Izabella Gustowska’s actions comprise a consistent project based mainly on the recurrent gesture of creating an opportunity for women artists to meet – hence the word meetings – and to engage in a dialogue. Spotkania is the longest-lasting and most consistently carried out project enabling women artists to meet but, paradoxically, not intended to consolidate them. All of the exhibitions emphasised Gustowska’s certainty of essential closeness between women. This closeness was always characterised, very generally and indistinctly, as a kinship that becomes evident only when sought. An analysis of the exhibitions leads one to the conclusion that the combination of the conviction that women share essential similarities with an emphasis on their individuality and on the separateness of their artistic proposals, coupled with Gustowska’s distancing herself from feminism, are the reasons why Spotkania did not result in the emergence of any kind of community or in the undertaking of collective actions. The exhibitions remained as incidental meetings and their infl uence on the oeuvres of the women artists who participated in them is yet to be analysed.
29
Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (November 3, 2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).
Full textAbstract:
The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.
30
Wasserman, Krystyna. "The National Museum of Women in the Arts Library and Research Center." Art Libraries Journal 13, no. 3 (1988): 10–13. http://dx.doi.org/10.1017/s0307472200005757.
Full textAbstract:
The National Museum of Women in the Arts was established in Washington in 1981 to make known the achievements of women in the visual arts. Its Library and Research Center plays a central part in the Museum’s essentially educative role, providing information on art by women primarily by means of one of the largest specialised collections of materials on women’s art. This includes extensive archival files and a number of special collections. Ongoing projects include the compilation of a database on women artists, an inventory of works of art by women in private and public collections, and an index to women artists documented in group exhibition catalogues. The activities of the Library and Research Center demonstrate how this and other art libraries can counteract the neglect of women in the arts.
31
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.
Full textAbstract:
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.
32
Dixon, Carol Ann. "Four women, for women: Caribbean diaspora artists reimag(in)ing the fine art canon." African and Black Diaspora: An International Journal 13, no. 2 (January 12, 2020): 161–76. http://dx.doi.org/10.1080/17528631.2019.1701810.
Full text
33
Gjerde, Una Mathiesen. "Blodig skam." K&K - Kultur og Klasse 46, no. 125 (May 15, 2018): 157–78. http://dx.doi.org/10.7146/kok.v46i125.105555.
Full textAbstract:
Since Aristotle’s time, menstruation has been a stigmatised bodily fluid. It has been a source of shame and guilt for women for centuries. In this article, I focus on how Scandinavian artists since the 1970’s have contributed to make menstruation public through menstrual art. There is wide diversity within Scandinavian menstrual art. Some artists address the menstrual stigma directly in their work, while others use the semiotic and symbolic power of menstrual blood – as abject – to provoke and raise political awareness on feminist issues. I focus on menstrual art in relation to notions of shame and guilt. I argue that menstrual art has contributed to reducing destructive menstrual shame amongst Scandinavian women, even though this may not have been the artists’ main intention in creating the work. Even though the menstrual stigma has been reduced drastically – especially the last five years – menstrual shame has not disappeared. Thus, menstrual art can still contribute to reducing and preventing women from feeling ashamed of their periods. As long as half of humanity menstruates one-third of their life time, the menstrual discussion and menstrual art will remain topics of interest and importance.
34
Yongbai, Tao. "Off the Margins." positions: asia critique 28, no. 1 (February 1, 2020): 65–86. http://dx.doi.org/10.1215/10679847-7913054.
Full textAbstract:
This article offers a chronological survey of the development of women’s art in China between 1990 and 2010. Outlining the historical circumstances that first resulted in the dearth of a female consciousness in Chinese art until the end of the twentieth century, this article touches on the divergent roots of the women’s liberation movement and western feminism, the Maoist era’s negation of femininity, and the lingering patriarchal structure of art institutions. It was only after a series of groundbreaking exhibitions exploring the female psyche in the 1990s that women artists found a space to voice their female subjectivities, and still they struggled to resist the slippery essentialism of a “women’s art” fad. The new millennium saw women artists expanding their thematic horizons, breaching important political and social issues as well as such subjects as ecology, astronomy, gemology, and urbanization, with many forgoing the label of feminist—or even women’s—art. Each sought to transcend the limitations of personal experience and achieve a greater human resonance. This study examines the work of thirteen women artists whose careers are relatively unknown in the English language, ultimately delving into the complex relationships among sex, gender, humanity, and art in contemporary China.
35
Weiss, Katherine. "‘Of her tenacious trace’: Samuel Beckett and Contemporary Art." Journal of Beckett Studies 30, no. 2 (September 2021): 174–87. http://dx.doi.org/10.3366/jobs.2021.0339.
Full textAbstract:
This chapter explores how three contemporary artists, Claire-Lise Holy, Dorothy Cross and Arlene Shechet, have been inspired by Samuel Beckett's prose and drama, works that foreground the need and agony for being perceived and the desire to be still and silent. Holy, Cross and Shechet take up Beckett's themes of gaze and petrification, particularly as seen in Beckett's works for women. For these contemporary artists, distilling the female form on paper, canvas, stone, or video is an act of creating a trace, inviting the viewer to participate, looking upon their women with empathy. Holy, whose drawings of antiquated women resemble those of Beckett's late plays, shares with Beckett the need for us to see these women. Cross, too, draws on the importance of seeing and remaining, inviting us to act our part in recognising that we are only a moment in ancient history. Her female forms, inspired by Footfalls, recede, and as they do so, we are tempted to follow. Drawn to Happy Days, Shechet asks that we look forward beginning conversations about the here, now, and the future. She asks that in the process, creatures like Winnie who cry out, are not forgotten. For this to happen, our gaze must go beyond objectifying Winnie. These artists, like Beckett, challenge us to see differently – a empathic gaze that never forgets.
36
Adams, Jacqueline. "When Art Loses its Sting: The Evolution of Protest Art in Authoritarian Contexts." Sociological Perspectives 48, no. 4 (December 2005): 531–58. http://dx.doi.org/10.1525/sop.2005.48.4.531.
Full textAbstract:
Change in art is an understudied topic in sociological research. This article examines protest artworks ( arpilleras) produced by shantytown women during and shortly after the dictatorship in Chile, to explore the question why political art that is for sale changes over time. This research is based on 136 semi-structured and in-depth interviews with various members of the art world in Chile, Europe, and the United States, a year's worth of participant observation of art groups in Santiago and over five hundred photographs of arpilleras, taken by the author and analyzed thematically. Political art that is for sale can change because the intermediary (the organization connecting producers and buyers) becomes less or more politically conservative, develops a precarious financial situation, grows more afraid of repression, and has the power to enforce the changes it desires; because the original buyers are replaced with new buyers with different motivations; and because new artists with new ideas begin making the art, one artist in the group produces something different and the idea spreads, artists censor themselves, and artists have new experiences or learn about new events. Through these sources of change, international social movements, local and international political and economic developments, and global institutions impact the art. Meanings attached to the art by the different parties (intermediaries, buyers, and artists) and class differences between artists and intermediaries are also important in facilitating change. These findings, based as they are on political art made in a repressive context, not only contribute to our understanding of artistic evolution but they help correct the bias in the sociology of art toward “art” made in democratic countries of the “First World.” They are not just applicable to authoritarian regimes but also to art by politicized minority groups in democratic contexts, and to other cultural products such as newspapers, magazines, documentaries, and books.
37
Al-Ajmi, Nada. "Innovative Applications for Presenting Heritage in the Visual Arts Medium: A Case Study of the Omani Legends and Stories Exhibition." Journal of Arts and Social Sciences [JASS] 7, no. 2 (June 1, 2016): 83. http://dx.doi.org/10.24200/jass.vol7iss2pp83-98.
Full textAbstract:
In transforming the folk tale into a visual medium, contemporary artists have illuminated the remarkable flexibility of this cultural heritage. The Omani Legends and Stories exhibition held in 2012 featured forty-two contemporary artists inspired to re-interpret folk tales that encapsulated beliefs and values relevant in present-day Oman. Several years later, qualitative interviews were conducted with seven of the artists whose work depicted stories focused on representations of women. Together with some analysis of academic writing in the field of traditional tales, this study also garnered artists’ viewpoints as expressed in their art works and revealed in discussions with the artists themselves. It was found that there is continuity in the cultural values and beliefs across generations, that folk tales are still being passed on and that women were represented in them in an intriguingly positive light. The continuing observance of cultural restrictions practiced on women was not supported in either the folk tales or the artists’ own viewpoints. The example provided by Oman’s visual arts industry may inspire similar initiatives in other societies and further research on possible linkages between different art mediums that could be harnessed to further the betterment of women’s socio-cultural situation.
38
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.
Full text
39
Shrestha, Banshi. "Art Creations of Pramila Giri." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (December 1, 2019): 30–35. http://dx.doi.org/10.3126/sirjana.v6i1.39670.
Full textAbstract:
During the 60s and 70s, various new concepts and trends of European modern arts were slowly and nobly emerging in Nepali Art. Traditional Paubha artists and some senior artists such as Chandraman Singh Maskey, Tej Bahadur Chitrakar were following the conventional grammar, characteristics and themes in their art creations.
There were virtually no women artists in the creative art scene. Later Pramila Giri and Shilu Payri along with some other female artists appeared on the art stage with new ideas and concepts of modernity. Artist Giri in her early stage, was also following the conventional approaches, but later she began to experiment and present her new art forms with mythical figures and themes.
Her analytical thoughts and search led her to use the various forms, images and symbols of religious and mythical figures of BHAIRAV in her art creations. Thus, she started in presenting the figures and forms plus sculptures on her large size canvas. It was completely a noble approach and presentation.
BHAIRAV, a gigantic demonic figure but with all the divine powers is regarded as the incarnation of Lord Shiva. Red, white, blue, black colors are used to represent a chosen incarnation of the Lord.
Thus, if the viewers are familiar with the mythical figures of Lord BHAIRAV, it will be easier to understand the use of colours and the presentations of the figures in her art creations.
40
Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (February 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.
Full textAbstract:
“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States.
41
Schneider, Rebecca. "Remembering Feminist Remimesis: A Riddle in Three Parts." TDR/The Drama Review 58, no. 2 (June 2014): 14–32. http://dx.doi.org/10.1162/dram_a_00344.
Full textAbstract:
Freud's “riddle” that women are, themselves, “the problem” takes on new significance in thinking back through the “remimetic” strategies and tactics of mid-century feminist performance art. What sorts of “problems” arise with the stellar success of women artists in the 2000s, and the new status of “global art star” for artists such as Marina Abramović and Cindy Sherman? What may have been left out of the picture? Perhaps the recent “living archive” re.act.feminism installation by curators Bettina Knaup and Beatrice Stammer may provide some clues.
42
Simmons, Cynthia. "Women Engaged/Engaged Art in Postwar Bosnia: Reconciliation, Recovery, and Civil Society." Carl Beck Papers in Russian and East European Studies, no. 2005 (January 1, 2010): 51. http://dx.doi.org/10.5195/cbp.2010.150.
Full textAbstract:
In postwar and post-Communist Bosnia-Herzegovina, civil society has been developing along with a signifi cant recasting of women’s roles in public life. Researchers have equated civil society since the war in Bosnia almost exclusively with non-governmental organizations (NGOs). Certainly this has been the most infl uential sphere of both women’s work and of public activities contributing to a nascent civil society. Researchers have given insuffi cient attention, however, to the contributions of women in the burgeoning free press in Bosnia-Herzegovina, as well as to the increasing social engagement and infl uence of women artists and arts administrators. The contribution of the arts to civil society receives little attention, but women writers, artists, and arts administrators are addressing in their work and projects issues of justice, reconciliation, and human rights. Some who began their creative life in Yugoslavia, and who formerly sought independence from ideology in pure aestheticism, now embrace political engagement. They employ the potentially “free zone” of art to encourage the communication and mutual responsibility between the government and citizenry that underlies a civil society. Just as women have taken on new public roles since the war—as directors in non-governmental organizations and as editors and journalists in the independent press—women artists are addressing specifi c postwar themes, and women arts administrators are promoting publications, creating exhibitions, and organizing events that draw attention to issues that are critical to the success of Bosnia’s fl edgling democracy.
43
Pena, Mary. "Black Public Art: On the Socially Engaged Work of Black Women Artist-Activists." Open Cultural Studies 3, no. 1 (January 1, 2019): 604–14. http://dx.doi.org/10.1515/culture-2019-0053.
Full textAbstract:
Abstract Inaugurated at the Brooklyn Museum of New York in 2017, the path-breaking exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” centers the creative expressions and lived experiences of black women artists within a primarily white, middle-class, heteronormative mainstream feminist movement. Engaging visual mediums, artist-activists rendered a black feminist politics through cultural and aesthetic productions. In so doing, artists recast extant representations of black social life, demanded inclusion within cultural institutions, and created black-oriented spaces for artistic engagement. In the contemporary global political climate of anti-blackness, artists craft socially engaged practices that creatively intervene in public space and the cultural institutional landscape. Through a critical analysis of Carrie Mae Weems’ Operation: Activate, Simone Leigh’s The Waiting Room, and LaToya Ruby Frazier’s Flint is Family, this essay concerns recent interventions that mobilize an expansive approach to art combined with activism. The myriad practices of Weems, Leigh, and Frazier recompose sites of political engagement and empowerment that enact a broader praxis of reimagining social worlds. These projects belie the representational fixity on which art economies hinge, gesturing to material formations that elicit tactile modes of relation, and challenge the bounds of subjects and objects in the world.
44
Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (February 2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.
Full textAbstract:
The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization and festival working in traditional and nontraditional venues throughout Los Angeles, in an effort to disseminate community-empowering public art widely.
45
Von Maltzahn, Nadia. "The Museum as an Egalitarian Space?" Manazir Journal 1 (October 1, 2019): 69–82. http://dx.doi.org/10.36950/manazir.2019.1.1.5.
Full textAbstract:
This article discusses the role of the Sursock Museum as a platform for the emancipation of women, and to what extent the Museum’s Salon d’Automne constituted an egalitarian space. Etel Adnan took part in two Salons, in 1964 and 1974. This paper will provide some context for the Beirut art scene in which she worked. The general institutional framework for women artists is highlighted before discussing the situation of women artists in Beirut’s Sursock Museum exhibitions of the 1960s and 1970s, the years Etel Adnan participated in the Salon. Brief portraits of four women artists show us that women artists were neither considered alike nor singled out for their gender. They treated very diverse subjects and styles, came from different social backgrounds and generations, and were often pioneers in their fields.
46
Navalón Blesa, Natividad, Alejandro Mañas García, and Teresa Cháfer Bixquert. "Heroínas de una Sociedad Misógina. Teresa de Jesús Atrincherada en la Morada. Mística en el Arte Contemporáneo." Barcelona Investigación Arte Creación 5, no. 1 (February 2, 2017): 17. http://dx.doi.org/10.17583/brac.2017.2365.
Full textAbstract:
This article is the first in a series of reflections in which our main objective is the recovery of space that should never lose women. We review those heroines women in a misogynist society, who have been influential thinkers in the creative work of contemporary art. This text is dedicated to Saint Teresa of Jesus, a heroine, in whom many artists have set their sights as a benchmark for empowerment and they have directed their work toward mysticism, creating a connection between art and spirituality. We collect a selection of artists who have used the mystical, pain, purple, silence, visions, and finally, ecstasy, in their creative process, to give voice to a gender problem in this society and to work in the struggle for the recovery of a space that had always belonged to women. Artists who, through their work, claim a place in a society culturally articulated by man. They are a clear example of what we have called heroines women in a misogynist society.
47
Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (December 28, 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.
Full textAbstract:
This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
48
Stout, Candace Jesse. "In the Spirit of Art Criticism: Reading the Writings of Women Artists." Studies in Art Education 41, no. 4 (2000): 346. http://dx.doi.org/10.2307/1320678.
Full text
49
Meskimmon, Marsha. "The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century." Woman's Art Journal 20, no. 2 (1999): 65. http://dx.doi.org/10.2307/1359000.
Full text
50
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.
Full text