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Dissertations / Theses on the topic 'Women artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life

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2

McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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3

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

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4

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

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5

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

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6

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

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This thesis documents a range of visual and textual records of women artists and illustrators in Edinburgh (1886-1945). It considers how women trained and applied skills to illustrate unique and multiple images for Edinburgh's printing and publishing houses. Research by Dr Elizabeth Cumming into the Arts and Crafts Movement in Edinburgh, studies by Professor Janice Helland of Professional Women Artists in Scotland and work by Professor Sian Reynolds into the cultural industries in Edinburgh, provide fundamental models of enquiry into women's occupations in this period. The following chapters d

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7

McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.

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8

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

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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions in

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9

Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.

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10

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

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

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11

Tolley, Rebecca. "Review of Life Stories of Women Artists 1550-1800." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/5654.

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12

Byrne, Debra J. "Feminine identities and the structuring of postmodern portraiture /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164493.

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13

Adley, Allyson Sarah. "Re-presenting diasporic difference, images of immigrant women by Canadian women artists, 1912-1935." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39122.pdf.

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14

McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.

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Thesis (Ph. D.)--North Texas State University, 1986.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).

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15

Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /." Diss., UMK access, 2006.

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Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005.<br>"A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.

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16

Memarzia, Mitra. "Contemporary Iranian women artists : a practice based analysis of identity." Thesis, Sheffield Hallam University, 2006. http://shura.shu.ac.uk/20054/.

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This research has been concerned with the overall notion of the crisis of identity in Iran. More specifically, this research involved 20 contemporary Iranian women artists; 10 living in Iran and 10 living in exile and examines the position of women and the ways the notion of identity is reflected in their artworks, and viewpoints. The researcher's position as a contemporary Iranian woman artist living and working in the UK has been integral to the enquiry. As a member of the group being explored this position has allowed personal experience to be used in order to achieve a deeper understanding

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17

Montgomery, Janet Elise. "Women contemporary Western-style artists in Japan : Ethnographic case studies /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862399449621.

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18

Thornton, Meghan Schwain Kristin. "The impression of humor Mary Cassatt and her rendering of wit /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6530.

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Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.

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Gamelin, Anastasia Kamanos. "Home and away : the female artist in academia." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36933.

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This dissertation explores the conflicts, contradictions and paradoxes inherent in the lives of those women who, as artists and academics, seek to connect their personal and professional lives in their work. It explores how creativity and the pursuit of self-knowledge relate to the lives of female artists and academics. The dissertation arises from a study of my own experience as woman, writer and academic.<br>Inquiries into creativity and feminist, critical and cultural theory provide the framework for examining how the identity of the female artist is shaped within the patriarchal institutio

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20

Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>Anthropology

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21

Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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22

Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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23

Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.<br>Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).

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24

Meskimmon, Marsha Gretta. "Women artists and the Neue Sachlichkeit : Grethe Jürgens and Gerta Overbeck." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35698.

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This work examines the complex relationship between gender and the work of women artists associated with the Neue Sachlichkeit. The critical 'realism' of the Weimar Republic has become best-known through the work of artists such as Otto Dix, George Grosz and Christian Schad, but a number of women artists also engaged with the aesthetic, including Grethe Jurgens and Gerta Overbeck. Jurgens and Overbeck were part of the Hanoverian regional variation of the Neue Sachlichkeit which flourished between 1925 and 1938. In this thesis, the works of Jurgens and Overbeck are examined with particular refe

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Broadhurst, Maura Lesley. "Strategic spaces : towards a genealogy of women artists' groups in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0002/MQ40226.pdf.

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26

Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.

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27

Perkins, Gillian Hugman. "Issues in the construction of identity of some contemporary women artists." Thesis, University of Northampton, 1999. http://nectar.northampton.ac.uk/2979/.

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This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line wi

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28

Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.

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29

Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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30

Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.

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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes

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31

Tyreman, Katie. "Between Women: Visualizing Victorian Women Artists’ Identities through Art Movements, Media and Scale, c. 1848-1898." Thesis, University of York, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594222.

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32

Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.

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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history.

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33

Iggulden, Annette, and mikewood@deakin edu au. "Women's silence: In the space of words and images." Deakin University. School of Contemporary Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.120456.

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My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of mute silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nu

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34

Cavagnaro, Loretta Maureen. "Eva Hesse in exhibition : contexts and categories /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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35

Bateman, Genevieve. "Creative misreadings: allegory in Tracey Rose's Ciao Bella." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1009506.

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This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the ill

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36

Jacquin, M. C. "Narrative unrest : the politics of narrative in women artists' film and video." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1396991/.

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This dissertation examines the politics of narrative in women artists’ film and video. It investigates not only how narrative was and is used as a powerful instrument to offer counter-discourses to those sanctioned by the dominant culture, but also how narrative forms themselves can be invested with political significance. Starting in the 1960s, the supposed neutrality of narrative forms came under sustained attack, particularly by post-structuralist thinkers such as Roland Barthes, Michel Foucault and Julia Kristeva. Their political critique of narrative quickly found its way into the work of

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37

Photiou, Maria. "Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.

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This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in r

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38

Kim, Gumsun. "A question of equality : women and women's art under patriarchal society /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030801.151817/index.html.

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39

Queiros, Doralice Alves de. "Mulheres cordelistas : percepções do universo feminino na literatura de cordel /." Belo Horizonte : Faculdade de Letras da UFMG, 2006. http://www.bibliotecadigital.ufmg.br/dspace/bitstream/1843/ALDR-6WEK7J/1/disserta__o.pdf.

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40

Skelly, Julia. "No strangers to beauty : contemporary black female artists, Saartje Baartman and the Hottentot Venus body." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97824.

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Saartje BaartJnan was a South African woman who signed a contract in 1810 that effectively made her the property of two white men wishing to exhibit her in Europe because of the shape and color of her body. In this text 1 examine two very different categories of representations of Baartman. First, I discuss images that were produced during Baartman's lifetime that discursively transformed her from a black woman with an identity into a pathologized body known as the Hottentot Venus, and second, I discuss the contemporary black female artists who are producing art inspired by Baartman in order t

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41

Lee, Sharon Yih-Chih. "The career development of Asian American female visual artists." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4869.

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The Asian American population is one of the fastest growing racial groups within the United States, and will soon become a significant proportion of the nations' work force (Census, 2008). It is important for counselors and other helping professional to better understand the needs of this population in order to better prepare them for the nation's workforce. Given the limitations of the current knowledge pertaining to Asian American career development, researchers have called for additional studies examining the career development process for Asian Americans (Flores et al., 2006; Leong & Serif

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42

Poole, Tanya Katherine. "An exploration of female physicality and psyche and how these inform art-making." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002215.

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This thesis proposes that female physicality informs the psyche and thus in turn, art-making. My argument will be shown to be apposite and informative to the discussion of the work of Paula Rego, Jenny Saville and Cindy Sherman. Furthermore such an understanding is helpful to a reading of my practice. In examining issues of identity, which contribute to the formulation of a distinctly female psyche, I will base my critique on the philosophical positions of Sartre, de Beauvoir and Paglia.

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43

Malone, Kelsey Frady. "Sisterhood as Strategy| The Collaborations of American Women Artists in the Gilded Age." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877154.

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<p> This dissertation employs four case studies—illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans—to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibit

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Abowd, Gabriele Therese. "Making room for art case studies of midwestern women artists and their studios /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3324529.

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Thesis (Ph.D.)--Indiana University, School of Education, 2008.<br>Title from home page (viewed on May 12, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2990. Adviser: Lara Lackey.

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Bancroft, Bronwyn Maree. "Passion, Power, Politics: Does Inequality exist for New South Wales Aboriginal Women Artists?" Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20356.

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The motivation for creating this thesis was primarily to research and understand if inequality existed for Aboriginal women artists from the state of New South Wales. I produced a documentary where I interviewed six Aboriginal language group women who created art in the state based boundaries of New South Wales.I also conducted a research component around the acquisition of art by the Art Gallery of New South Wales. I collected a lot of data around this and was not surprised to find that there was minimal collection of any women artists from New South Wales. My line of inquiry has established

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Tolley, Rebecca. "Review of A Studio of Her Own: Women Artists in Boston 1870-1940." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5705.

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Carpes, Mariza. "Fragments of a life : constructing a personal story." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935918.

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Renew thyself completely each day; do it again, and again, and forever again.Jon Kabat-Zinn, Wherever You Go There You AreThe above quotation sums up my feelings about this thesis. By reviewing my life I feel a sense of renewal. I think that my memories are true and accurate. My story certainly is a living memory of my time. I have found that in telling my story I have purged myself of much of my past and refreshed myself in mind and spirit.I start my story by reviewing the three artists who have influenced my work over the past two years, Squeak Carnwath, Jean Hammond and Nancy Spero.I then g

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48

Neal, Christine Crafts. "The life and works of Claude Hirst (1855-1942) /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901264.

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49

Gentry, Erin. "Girls' Night Out: Female Graffiti Artists in a Gendered City." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206212108.

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Bradley, Jessica. "Postmodern bodies and feminist art practice." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.

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This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference

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