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Journal articles on the topic 'Womenin art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Catacolí Camacho, Carolina. "Cautiverios de género en Poesía no eres tú, de Rosario Castellanos." La Manzana de la Discordia 10, no. 1 (2016): 45. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v10i1.1594.

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Resumen: El presente estudio establece coincidenciastemáticas entre los textos poéticos de la mexicana RosarioCastellanos (2004) y la antropóloga, también mexicanaMarcela Lagarde (2005); a partir de la representaciónreiterativa en Rosario Castellanos de imágenes de mujeresocupando posiciones similares a las descritas en el análisisdesarrollado por Lagarde y sintetizado en el concepto delos cautiverios de las mujeres. La parte central del artículoes el análisis de siete poemas de Rosario Castellanos, dela colección poética de Rosario Castellanos Poesía noeres tú (2004).observados bajo la óptica

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2

Ambar Alimatur Rosyidah, Dhiya Sahara Ulfa, and Hermin Indah Wahyuni. "Becoming an Active Subject: Women's Art Collective Eco-Artivism for Ecological Sustainability in Indonesia." Mudra Jurnal Seni Budaya 39, no. 2 (2024): 211–21. http://dx.doi.org/10.31091/mudra.v39i2.2688.

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This study explores the eco-artivism of women's art collectives for ecological sustainability by looking at actor-networks, eco-art as a non-human actor, and women's art collective negotiations. In Indonesia, eco-artivism is used to raise ecological awareness and strengthen socio-environmental protests in the ecological crisis. To explain the relationship of ecological sustainability in the artistic works of women's art collectives, we underline the connection between ecofeminism and Actor-Network Theory (ANT). We used a case study method with the Perempuan Pengkaji Seni (PPS) community, an ar

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3

Darrup, Cathy C., and Betty LaDuke. "Africa: Women's Art, Women's Lives." African Arts 32, no. 2 (1999): 89. http://dx.doi.org/10.2307/3337612.

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4

Kirchen, Anita. "Africa: Women's Art, Women's Lives." Women's Studies International Forum 23, no. 2 (2000): 260–61. http://dx.doi.org/10.1016/s0277-5395(00)00079-0.

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5

Yui, Wei. "Chinese Women’s Art." Культура и искусство, no. 5 (May 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.

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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection o

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6

Alarcón, Graciela S. "On women's lssues." Arthritis Care & Research 6, no. 3 (1993): 115–16. http://dx.doi.org/10.1002/art.1790060302.

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7

Čelebić, Burhan. "Umjetnost i tipologija ženskih nišana sjeverne i sjeveroistočne Crne Gore." Historijski pogledi 5, no. 8 (2022): 93–111. http://dx.doi.org/10.52259/historijskipogledi.2022.5.8.93.

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Research and study of sights is not new in the Balkan area. The first important research in this field was carried out by two Bosnian-Herzegovinian researchers, namely Mehmed Mujezinović and Šefik Bešlagić. Those researches were carried out in Bosnia and Herzegovina through three levels - history, epigraphy and art. In addition to these two great men, we also have some other researchers who worked on sights such as Ćiro Truhelka, Antun Hangi, Seid Mustafa Trajlić, Alija Nametak, Alija Bejtić, Džemal Čelić. Often, these and many other authors classified men's sights into ulema, dervish, martyr,

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8

Vincentelli, Moira. "Women's Art in Wales." Woman's Art Journal 7, no. 1 (1986): 52. http://dx.doi.org/10.2307/1358247.

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9

Lauter, Estella, Gisela Ecker, and Harriet Anderson. "Art for Women's Sake." Women's Review of Books 4, no. 6 (1987): 17. http://dx.doi.org/10.2307/4020081.

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10

Gouma-Peterson, Thalia, Patricia Mathews, Roszika Parker, and Griselda Pollock. "Art for Women's Sake." Women's Review of Books 5, no. 6 (1988): 21. http://dx.doi.org/10.2307/4020282.

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11

Merialdi, Mario, Jennifer A. Harris Requejo, and Aldo Campana. "Art for women's health." Lancet 368, no. 9553 (2006): 2113–14. http://dx.doi.org/10.1016/s0140-6736(06)69642-6.

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12

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.

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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.

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13

WARNER, MARINA. "WOMEN'S ART AT NEW HALL." Art Book 1, no. 3 (1994): 24a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00149.x.

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14

Liu, Tianfei. "The Rise and Diversity of Women's Art: A Study on Self-Expression in Art." Lecture Notes in Education Psychology and Public Media 72, no. 1 (2024): 20–24. https://doi.org/10.54254/2753-7048/2024.nd17959.

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In the middle of the 20th century, with the rise of the feminist movement and the continuous development of society, feminism gradually received attention. The artistic creation associated with it also developed, and people noticed the value of it. The status of female artists is gradually rising. The art is gradually diversifying. In this field of artistic creation, female artists have finally gained a place in the field of art according to their own research and efforts. According to their own unique aesthetic value and emotion, female artists give play to their unique artistic talent, break

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15

Mockridge, Jessa. "Category is… The Women's Art Library: Queering metadata with the Digital Archive of Artists’ Publishing." Art Libraries Journal 49, no. 4 (2024): 148–57. https://doi.org/10.1017/alj.2024.24.

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The Digital Archive of Artists’ Publishing (DAAP) is an ethical, open source, artist-driven database of artist books and publications. DAAP recently received Heritage Lottery Funding to support the Women's Art Library (WAL) to build their own archives on the platform. Through a series of workshops, tutorials and drop-ins, artists represented in the WAL generated anecdotal, ‘gossipy’ histories which act as access points to artists’ books that may be out of print, limited in availability within institutional or public archives or libraries, or shared digitally for the first time. I will draw on

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16

Sheng, Yan. "New Media Art Utilization in Commercial Photography." International Journal of Global Economics and Management 5, no. 2 (2024): 323–31. https://doi.org/10.62051/ijgem.v5n2.34.

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The women's economy has become a rapidly growing segment of the Chinese economy in recent years. The growth of the "she-economy" is a reflection of the development of feminist thinking. In recent years, the topics of "acoustic family, workplace relationship, family structure, mental health, male-female relationship" have been emerging, and modern women are pursuing a deeper exploration of their inner self, and by deconstructing their relationship with the society, they are gradually focusing on their own remodeling. With economic independence, women's more emotional spiritual world needs to be

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17

Miaskowska, Marta. "PRESENT TO THE LIMITS." Design/Arts/Culture 5, no. 1 (2025): 72–83. https://doi.org/10.12681/dac.38211.

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The work of women artists with their own image, situated against the background of the development of new media art and feminist contexts, reveals an area of reflection on creative responsibility, which is manifested by persistent presence. The perspective of a lens, often replacing a mirror, or cultural customs attributed to women, such as makeup, becomes a cliché through which subsequent artists shed new light using various new media. The combination of performative and on-camera activities in women's work has its own separate dimension in art, and its features are reflected in the works p

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18

Струмінська, Т. В., О. Ю. Михайлюк, О. С. Слітюк, Г. В. Омельченко та Т. Ю. Дегтяр. "ПРИНТИ У СТИЛІ ПОП-АРТ ЯК ТВОРЧЕ ДЖЕРЕЛО ДЛЯ ПРОЕКТУВАННЯ СУЧАСНИХ КОЛЕКЦІЙ ОДЯГУ". Art and Design, № 2 (21 вересня 2020): 104–13. http://dx.doi.org/10.30857/2617-0272.2020.2.9.

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The purpose of the work is to determine the main art and compositional solutions of pop art prints of prints for further design of author's prints and the development of creative collections of modern women's clothing. To achieve this goal, special features, art and figurative features of pop art style prints were structured, a visual analytical and comparative analytical analysis of the collections of women's and men's clothing in the style of pop art for the spring-summer 2019 and 2020 seasons was carried out. Highlighted the characteristic compositional solutions of modern prints in the sty

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19

Forte, Jeanie. "Women's Performance Art: Feminism and Postmodernism." Theatre Journal 40, no. 2 (1988): 217. http://dx.doi.org/10.2307/3207658.

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20

Robinson, Hilary. "The Women's Movement in Art Education." Circa, no. 89 (1999): 6. http://dx.doi.org/10.2307/25563486.

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21

Soliman, Asmaa. "Muslim Women’s Self-Representation in Art." Religion and Gender 9, no. 2 (2019): 170–93. http://dx.doi.org/10.1163/18785417-00902002.

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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

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22

Honorato, Dalila, and Claudia Westermann. "Women’s agency in art and science." Technoetic Arts 21, no. 2 (2023): 151–56. http://dx.doi.org/10.1386/tear_00117_2.

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Women in the field of art and science have an unquestionable presence worldwide that exceeds their visibility in the general visual art scene. When cataloguing women’s range of practices and exploring their agency in art and science, a new model of inclusivity and access to the public sphere for all individuals working in art emerges. First, these are contributions reflecting on projects being carried out by women in the broadest interpretation of the term – individuals who identify themselves as women, cisgender, non-cisgender, transgender, gender fluid and independent of their sex and gender

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23

Akkurt, Buket, and Rabia Ekti Genç, Etki Genç, Genç Ekti, Ekti. "A Creative Intervention: Mandala Art Therapy and Midwifery in Women's Health." Ebelik ve Sağlık Bilimleri Dergisi 8, no. 2 (2025): 158–63. https://doi.org/10.62425/esbder.1468809.

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Art therapy covers all mind-body based approaches applied as a method to improve the psychological health of the individual in the presence of illness or any difficulty experienced by the individual. Art therapies allow the abstract and complex thoughts in the individual's mind to become concrete. One of the many different types of art therapy involves mandala. Mandala, which has a deep-rooted history, is used in art therapy today. The ease of use and accessibility of mandalas for people of all age groups have contributed positively to the treatment of various diseases. From this perspective,

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24

Sheppard, Alice. "Suffrage Art and Feminism." Hypatia 5, no. 2 (1990): 122–36. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00421.x.

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Suffrage graphics constitute one of the first collective, ideological, artistic expressions by American women. Premised on the popular view of woman's nature as virtuous, responsible, and nurturant, this art nonetheless challenged traditional practices and demanded political change. Interrelationships between feminism, art, and the historical context are explored in this analysis of women's imagery.

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25

Martin, Therese. "The margin to act: a framework of investigation for women's (and men's) medieval art-making." Journal of Medieval History 42, no. 1 (2015): 1–25. http://dx.doi.org/10.1080/03044181.2015.1107751.

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26

Abdivaliyevna, Askarova Nargiza, and Ergasheva Gulsanam Gulomjonovna. "Zulfiyakhonim and Hamid Olimjon: the voice of literature and art." American Journal Of Social Sciences And Humanity Research 5, no. 1 (2025): 41–42. https://doi.org/10.37547/ajsshr/volume05issue01-12.

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This article will highlight the life and work of two bright figures of Uzbek literature - Zulfiya and Hamid Olimjon. Information about their role in poetry, creative cooperation and mutual love is provided. Hamid Olimjon's work in the field of epic poetry and dramaturgy, as well as the reflection of the themes of women's fate and patriotism in Zulfiya's work, will be analyzed. Through this article, literature lovers and young researchers will get acquainted with the contribution of Zulfiya and Hamid Olimjon to national literature.

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27

Hedges, Elaine. "Quilts and Women's Culture." Radical Teacher 100 (October 9, 2014): 10–14. http://dx.doi.org/10.5195/rt.2014.148.

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My interest in women's needlework, and especially quilts, began with a course I team-taught several years ago on women's art and literature. Because those of us teaching the course were concerned to break down class and race barriers, and distinctions between "high" and "low" art, or crafts, as well as distinctions between art and work, we were especially interested in women's needlework, as a form of activity that is universal ‒ not confined to any one class or race ‒ and that has combined the practical with the esthetic or artistic. It has always been necessary for women to sew, and, whereve

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28

Benhamou, Reed. "The Verdigris Industry in Eighteenth-Century Languedoc: Women's Work, Women's Art." French Historical Studies 16, no. 3 (1990): 560. http://dx.doi.org/10.2307/286487.

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29

Glebova, Galina, and Natalya Kiriutina. "Social-educational potential of women's internet-forum." Lifelong education: the XXI century 16, no. 4 (2016): 38–49. http://dx.doi.org/10.15393/j5.art.2016.3286.

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30

Li, Shun. "Analysis of the Narrative Art and Emotional Expression of the "Crying Marriage Songs" of Guizhou Daozhen Gelo Ethnic Minority." BCP Social Sciences & Humanities 16 (March 26, 2022): 435–43. http://dx.doi.org/10.54691/bcpssh.v16i.499.

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As a traditional marriage custom of Gelo ethnic group, Crying Marriage Songs have shown their unique emotional power through historical development and cultural inheritance. The procedure can be divided into starting, crying, and parting. In terms of the narrative art, the performative act of crying and singing is characterized with diversified objects, improvised content based on inheritance, and multiple forms. As for the emotional expression, the songs of crying marriage custom reflect not only the social life and historical situation, but also crying women's thoughts and cognitive processe

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31

Stonge, Carmen, Sigrid Wortmann Weltge, and Elizabeth Wayland Barber. "Women's Work: Textile Art from the Bauhaus." Woman's Art Journal 18, no. 1 (1997): 41. http://dx.doi.org/10.2307/1358680.

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32

Huyler, Stephen P. "Painted Prayers: Women's Art in Village India." Woman's Art Journal 21, no. 1 (2000): 62. http://dx.doi.org/10.2307/1358882.

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33

Barber, Fionna. "In Focus: Strategies for Women's Art Practice." Circa, no. 33 (1987): 11. http://dx.doi.org/10.2307/25557180.

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34

Allen, Max. "The Birth Symbol in Traditional Women's Art." Birth 19, no. 1 (1992): 1–2. http://dx.doi.org/10.1111/j.1523-536x.1992.tb00362.x.

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35

Gibbons, Jacqueline A. "Struggle and Catharsis: Art in Women's Prisons." Journal of Arts Management, Law, and Society 27, no. 1 (1997): 72–80. http://dx.doi.org/10.1080/10632929709597268.

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36

Holmqvist, Gärd Marie-Louise, Henrika Jormfeldt, Ingrid Larsson, and Cristina Lundqvist Persson. "Women’s experiences of change through art therapy." Arts & Health 9, no. 3 (2016): 199–212. http://dx.doi.org/10.1080/17533015.2016.1225780.

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37

Aoyama, Tomoko. "Nomizo Naoko and women's art against violence." Japan Forum 25, no. 3 (2013): 331–45. http://dx.doi.org/10.1080/09555803.2013.804107.

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38

Margolis, Judith. "The Painted Word: Jewish Women's Book Art." Nashim: A Journal of Jewish Women's Studies & Gender Issues 8, no. 1 (2004): 251–67. http://dx.doi.org/10.1353/nsh.2004.0073.

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39

Lai, Linda Chiu-han. "Contemporary “Women’s Art in Hong Kong” Reframed." positions: asia critique 28, no. 1 (2020): 237–74. http://dx.doi.org/10.1215/10679847-7913132.

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This article is a report of an ongoing performative research project conducted by the author in the capacity of an experimental historian–cum–fellow artist to the research subjects. Performative research is meant to be deconstructive: enacting the “what-if-we-talk” point of departure, the researcher and her subjects reopen established conclusions and definitions and examine (rules of) inclusions and exclusions in the local art paradigm. The main tasks and methods that form the performative research are (re) naming, inscription, dialogues, and thick description. The author engaged female artist

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40

Grad, Bonnie. "Framing feminism: Art and the women's movement." Women's Studies International Forum 11, no. 4 (1988): 422–23. http://dx.doi.org/10.1016/0277-5395(88)90103-3.

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41

Kryshtopa, Mariia. "Women’s Characters in Mykola Pymonenko’s Art Heritage." Ethnic History of European Nations, no. 68 (2022): 56–61. http://dx.doi.org/10.17721/2518-1270.2022.68.07.

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Ukrainian realistic painting became a symbol for the embodiment of the features of the traditional culture of the second half of the 19th – beginning of the 20th century. Mykola Pymonenko was one of the most striking painters among the outstanding artists who in their work turned to the development of themes and motifs from the everyday life of the peasantry. He skillfully depicted the color of the Ukrainian village, transferring the features of the profane and sacred times into traditional culture. His creative activity was closely connected with observation, and therefore the works demonstra

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42

Barber, Tiffany E. "What Was Black Women’s Art?" Archives of American Art Journal 64, no. 1 (2025): 66–77. https://doi.org/10.1086/735903.

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43

Congdon, Kristin G. "Teaching art where art should not exist: Women’s empowerment in Saudi Arabia." Visual Inquiry 3, no. 3 (2014): 407–19. http://dx.doi.org/10.1386/vi.3.3.407_1.

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44

Gronlund, Melissa. "Applied Art? Feryal Matar and Art Education at the Sharjah Women’s Association." Afterall: A Journal of Art, Context and Enquiry 55-56 (September 1, 2023): 176–91. http://dx.doi.org/10.1086/729140.

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45

Agnes, Flavia. "Women's Rights and Legislative Reforms: An Overview." International Journal of Legal Information 36, no. 2 (2008): 265–70. http://dx.doi.org/10.1017/s0731126500003048.

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The Indian Constitution with its mandate of equality (Art. 14), non-discrimination on the basis of sex (Art. 15) positive discrimination in favor of women (or affirmative action) (Art. 15(3)) equality and non-discrimination in employment and service conditions (Art. 16), right to life and liberty (Art.21) is an important instrument for the protection of women in India. Although certain protective legislation was enacted in the first thirty years after the Constitution came into being, it is only during the last three decades that women's concerns were highlighted in the official discourse and

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46

Erler, Mary C. "Reading Families: Women's Literate Practice in Late Medieval England by Rebecca Krug." Arthuriana 14, no. 1 (2004): 107–9. http://dx.doi.org/10.1353/art.2004.0049.

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47

Thiruneervannan, R. "Nail Art Competition." Journal of Academy of Dental Education 1, no. 1 (2014): 57. http://dx.doi.org/10.18311/jade/2014/2432.

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<p>The Academy of Dental Education conducted the 'Nail Art Competitition' , as the first Academic Programme of ADE in Penang International Dental College, Salem on October 19, 2013 at 10.00 am.</p><p>Four students each from five Dental Colleges participated in the competition:</p><p>1. Vivekanandha Women's Dental College, Thiruchengodu.</p><p>2. Vinayaka mission Sankarachariyar Dental College, Salem.</p><p>3. K.S.R.Dental College, Thiruchengodu.</p><p>4. J.K.K.Natarajah Dental College, Komarapalayam and</p><p>5. Pena

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48

Tobin, Elizabeth H., and Jennifer Gibson. "The Meanings of Labor: East German Women's Work in the Transition from Nazism to Communism." Central European History 28, no. 3 (1995): 301–42. http://dx.doi.org/10.1017/s0008938900011857.

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In Christoph Wetzel's 1988 painting, An Everyday Story, the divided canvas proudly depicts women's accomplishments in the German Democratic Republic (Figure 1). On one side, a woman operates a large piece of heavy machinery in a rolling mill, cool and competent behind the enormous mass of metal and gears. On the other side, the same woman helps her two children prepare for school in the morning. In the act of combing her daughter's hair, she looks out directly at the viewer, her expression asking: “And what are you surprised at?” This painting, displayed as part of a 1995 exposition on art com

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49

He, Chuchu, and Mingding Ouyang. "Research on the application of formal beauty in patchwork art in contemporary women's wear design." Highlights in Art and Design 2, no. 1 (2023): 22–25. http://dx.doi.org/10.54097/hiaad.v2i1.5190.

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The patchwork art has a long history and was mainly used to meet people's basic living needs in the early stage. With the development of the times, the aesthetic value and environmental protection value of patchwork art gradually attracted the attention of major brands and trendsetters. At present, the relevant theoretical research on the origin of patchwork culture has been relatively perfect, but there is still a need for in-depth research on the aesthetic form of modern patchwork art and its application in modern women's clothing. By summing up the formal beauty expression of patchwork art

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50

Tomc, Sandra. "A Change of Art: Hester, Hawthorne, and the Service of Love." Nineteenth-Century Literature 56, no. 4 (2002): 466–94. http://dx.doi.org/10.1525/ncl.2002.56.4.466.

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In this essay I argue that the 1950s and 1960s formulations of the American "romance" by such critics as Richard Chase and Leslie Fiedler were inflected by the simultaneous debasement in those same years of the term "romance" with respect to women's commercial fiction. I go on to consider how Nathaniel Hawthorne's The Scarlet Letter (1850), which of course includes the author's famous definition of "romance," has helped to prop up and perpetuate a cultural hierarchy premised on the derogation of narratives of heterosexual women's desire. I argue that in his search for a modern privatized autho

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