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Journal articles on the topic 'Women artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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

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3

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

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4

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

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5

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

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This study examines two American online organizations established as networks of support for Muslim women artists: Muslim Women in the Arts (mwia) and the International Muslimah Artists’ Network (iman). While the broader context is to explore the intersections of three important identity markers, namely, gender (woman), occupation (artist) and religion (Muslim) often overlooked in identity theory (Peek 2005), the more specific aim is to probe the effects of these digital culturescapes on Muslim women’s artistic agency and success. The data collected from interviews with member artists confirm

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6

Board, Marilynn Lincoln, and Katy Deepwell. "Women Artists and Modernism." Woman's Art Journal 21, no. 2 (2000): 53. http://dx.doi.org/10.2307/1358754.

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7

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

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8

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

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9

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

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10

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

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11

Yoshimoto, Midori. "Beyond ‘Japanese/Women Artists’." Third Text 28, no. 1 (2014): 67–81. http://dx.doi.org/10.1080/09528822.2013.867711.

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12

Sang, Barbara E. "Psychotherapy with women artists." Arts in Psychotherapy 16, no. 4 (1989): 301–7. http://dx.doi.org/10.1016/0197-4556(89)90053-1.

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13

Dyadyk, Natalya. "Female subjectivity and feminist practices in visual art of the second half of the twentieth century." Sotsium i vlast/Society and Power, no. 2 (2024): 62–75. https://doi.org/10.22394/1996-0522-2024-2-62-75.

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Introduction. The problem of the “female issue in art” is one of the most pressing today. “Gender art” or “female art” is one of the trends in modern art exhibitions. Thanks to art feminism, today women artists can fully demonstrate their talent, which arouses great interest in their work from the world art community. The purpose of the article is to identify specific stylistic features characteristic of “female subjectivity” and feminist practices in the art of the second half of the twentieth century. Methods: we used general scientific methods of analysis and synthesis, the phenomenological

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14

Mitchell, Dolores. "The "New Woman" as Prometheus: Women Artists Depict Women Smoking." Woman's Art Journal 12, no. 1 (1991): 3. http://dx.doi.org/10.2307/1358183.

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15

Och, Marjorie. "The Advancing Women Artists Foundation, and: Women Artists in the Age of Medici." Early Modern Women 11, no. 2 (2017): 125–30. http://dx.doi.org/10.1353/emw.2017.0008.

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16

Guth, Christine M. E., Patricia Fister, and Marsha Weidner. "Japanese Women Artists 1600-1900." Journal of Japanese Studies 18, no. 1 (1992): 222. http://dx.doi.org/10.2307/132722.

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17

Holcomb, Adele M. "Anna Jameson on Women Artists." Woman's Art Journal 8, no. 2 (1987): 15. http://dx.doi.org/10.2307/1358161.

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18

Fahlman, Betsy, Gail Levin, Alessandra Comini, and Wanda M. Corn. "American Women Artists, 1830-1930." Woman's Art Journal 8, no. 2 (1987): 55. http://dx.doi.org/10.2307/1358170.

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19

Simpson, Pamela H., Wendy Slatkin, Susan Waller, and Mara R. Witzling. "The Voices of Women Artists." Woman's Art Journal 14, no. 1 (1993): 55. http://dx.doi.org/10.2307/1358439.

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20

Sturken, Marita. "Women Artists’ Group Fights Discrimination." Afterimage 25, no. 6 (1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.

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21

Naidoo, Sanna. "Women Artists Make Their Mark." Agenda, no. 5 (1989): 29. http://dx.doi.org/10.2307/4065646.

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22

Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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23

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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24

Dickinson, Sheila. "Dialogues: Women Artists from Ireland." Circa, no. 111 (2005): 104. http://dx.doi.org/10.2307/25564303.

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25

Teklemichael, Makda. "Contemporary Women Artists in Ethiopia." African Arts 42, no. 1 (2009): 38–45. http://dx.doi.org/10.1162/afar.2009.42.1.38.

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26

Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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27

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 española

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28

Rodrigues dos Santos, Ana Amélia. "Unveiling the vibrant tapestry: Brazilian female voices in visual poetry on Instagram." Journal of Digital Sociohumanities 1, no. 1 (2024): 32–42. http://dx.doi.org/10.25077/jds.1.1.32-42.2024.

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This article explores the presence of Brazilian women artists in visual poetry on Instagram. It highlights the historical decline in recognition of women artists and the perpetuation of stereotypes that undermine their work. The article also discusses the ongoing struggle faced by female writers for recognition in the literary field. It challenges the notion that women, especially those from diverse backgrounds, are not prolific producers of poetry. The author focuses on the work of Brazilian artist Heloísa Marques as an illustrative example. Marques, an architect and visual artist, uses embro

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29

Robinson, Hilary. "Irish/woman/artwork: Selective Readings." Feminist Review 50, no. 1 (1995): 89–110. http://dx.doi.org/10.1057/fr.1995.24.

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This paper concentrates upon particular artworks from Irish women artists. It demonstrates that there are certain themes which recur in their artwork. These include dislocation, particularities about place and contestation around language, all of which are rooted in the lived experience of being Irish, being female and being an artist. At the same time the paper provides readings of this artwork which demonstrate that these experiences are diverse, and that the areas of representation within which the artists are working are socially produced constructs. There is therefore no romantic essentia

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30

Yang, Hwaseon. "A Study on the Gaze and Subjectivity of Women in Visual Art: Focused on Cindy Sherman and Caroline Walker’s Works." Korean Society of Culture and Convergence 45, no. 4 (2023): 321–32. http://dx.doi.org/10.33645/cnc.2023.04.45.04.321.

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This study focuses on the status and role of women through the art works of two female artists, Cindy Sherman(1954~) and Caroline Walker(1982~). The works of both Sherman, a representative second-generation feminist artist who has received critical attention since the end of the 1970s, and Walker, who grew up under the influence of post-feminism, portray women who reveal various social, cultural, and economic differences in modern society. Both artists focus on the traditional female image and gaze that still exists behind the status of women and female artists as well as the subjectivity of w

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31

Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 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 autobi

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32

Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.

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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 c

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33

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 par

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34

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 (2020): 1009–38. http://dx.doi.org/10.5209/aris.66088.

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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 u

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35

Lila, Bonghi Yawn. "Medieval Women Artists and Modem Historians." Medieval Feminist Newsletter 12 (September 1991): 10–19. http://dx.doi.org/10.17077/1054-1004.1592.

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36

Tufts, Eleanor. "American Women Artists, Past and Present." Woman's Art Journal 7, no. 1 (1986): 51. http://dx.doi.org/10.2307/1358242.

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37

Kaplan, Janet, and Whitney Chadwick. "Women Artists and the Surrealist Movement." Woman's Art Journal 9, no. 2 (1988): 47. http://dx.doi.org/10.2307/1358321.

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38

Hinish, Heidi, Geraldine P. Biller, Belgica Rodriguez, Edward J. Sullivan, and Marina Perez de Mendiola. "Latin American Women Artists, 1915-1995." Woman's Art Journal 18, no. 1 (1997): 54. http://dx.doi.org/10.2307/1358685.

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39

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

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40

Paliwal, Anju, and Dr Giriraj Sharma. "WOMEN ARTISTS IN CONTEMPORARY INDIAN CERAMICS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (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,

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41

Goggin, Maureen Daly. "Women Artists of the Great Basin." Utah Historical Quarterly 89, no. 2 (2021): 162–63. http://dx.doi.org/10.5406/utahhistquar.89.2.0162.

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42

Barber, Fionna, and Whitney Chadwick. "Women Artists and the Surrealist Movement." Circa, no. 26 (1986): 41. http://dx.doi.org/10.2307/25557045.

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43

King, Moynan. "Queer Performance: Women and Trans Artists." Canadian Theatre Review 149 (January 2012): 3–5. http://dx.doi.org/10.3138/ctr.149.3.

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44

Lewis, Reina. "Women orientalist artists: Diversity, ethnography, interpretation." Women: A Cultural Review 6, no. 1 (1995): 91–106. http://dx.doi.org/10.1080/09574049508578225.

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45

Land, Norman E. "FRANCO SACCHETTI ON WOMEN AS ARTISTS." Source: Notes in the History of Art 32, no. 2 (2013): 1–3. http://dx.doi.org/10.1086/sou.32.2.23292904.

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46

BUTLER, S. "Women Artists and the Surrealist Movement." Oxford Art Journal 9, no. 1 (1986): 85–89. http://dx.doi.org/10.1093/oxartj/9.1.85.

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47

York, Lorraine Mary. "Literary Sisterhoods: Imagining Women Artists (review)." University of Toronto Quarterly 76, no. 1 (2007): 443–44. http://dx.doi.org/10.1353/utq.2007.0277.

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48

King, Moynan. "Queer Performance: Women and Trans Artists." Canadian Theatre Review 149, no. 1 (2012): 3–5. http://dx.doi.org/10.1353/ctr.2012.0001.

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49

Childs, Adrienne L. "Material Girls: Contemporary Black Women Artists." Journal of Modern Craft 5, no. 1 (2012): 109–14. http://dx.doi.org/10.2752/174967812x13287914145677.

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50

Andrews, Julia F. "Women Artists in Twentieth-Century China." positions: asia critique 28, no. 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

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