This document summarizes and compares several artworks that challenge patriarchal norms and sexism from a feminist perspective. It discusses early works by Guerrilla Girls that criticized the lack of female artists in museums. It also analyzes videos by Sadie Benning and installations by Hend Al-Mansour that assert lesbian identities and reject oppressive social standards. Further, it examines paintings by Patricia Olson and Jessica Larson that celebrate female sexuality and menstruation in defiance of cultural taboos surrounding women's bodies. Throughout, the document explores how these diverse artworks expand possibilities for feminist expression.
This document discusses gender roles in art throughout history. It notes that males have traditionally been portrayed in strong, dominant roles, while females have been narrowly depicted as mothers, religious figures, or objects of temptation. However, as cultures changed, female representations gradually expanded. Modern artworks like Self-Portrait Sideways No. 3 and Untitled Film Still #35 challenge traditional gender norms. The document also discusses the feminist critique of exclusion of women in art institutions and Judy Chicago's The Dinner Party, which honors notable women. It explores how more recent art has begun to blur gender lines, depicting figures with ambiguous or mixed characteristics.
This art exhibition features colorful and powerful paintings by Ernie Barnes and Frank Morrison that portray African American culture. Both artists use vibrant colors and depict African Americans in a positive light. Frank Morrison's paintings "Freedom" and "Dream Catcher" showcase strong black women through movement and symbolism. Ernie Barnes' works like "Sugar Shack" and "Room Ful'A Sistahs" depict joyous community scenes through bright settings and many figures. The exhibition aims to appreciate and share the artists' celebration of African American history and experience.
Queer Art
- Queer art emerged in the late 1960s and 1970s as LGBTQ artists came out of the closet following the Stonewall riots, with concepts of censorship, visibility, and identity central themes
- In the 1980s-1990s, the AIDS crisis politicized queer identity further and the term "queer" was reclaimed from a pejorative to celebrate non-normative identities
- Queer artists have explored LGBTQ experiences through various mediums like photography, performance art, posters, and installations to increase representation and understanding of queer lives.
This document provides information on various artworks and artists that are being auctioned to raise funds for VAALA (Vietnamese American Arts & Letters Association). It includes biographies of 14 artists from Vietnam or the Vietnamese diaspora as well as descriptions, minimum bids, and increments for 28 separate artworks. The artworks span various mediums including paintings, photographs, sculptures, and textiles.
Varnette P. Honeywood and Lois Mailou Jones were two African American women artists during the Harlem Renaissance who differed greatly in their artistic styles. Honeywood's works featured bold colors, patterns and textures to depict changes within the African American community. Jones preferred softer brush strokes and colors, focusing on her perceptions of nature in a subtle style. While both participated in the Harlem Renaissance, their approaches to artwork diverged significantly after that period.
Discovering African American Art By Sondra De Lucasdeluca1
Ellis Wilson and Lois Mailou Jones were African American artists who found inspiration from visiting Haiti and experiencing African culture firsthand. Wilson's paintings depicted everyday life in Haiti through simple figures and use of color, while Jones' style evolved from impressionism to incorporating geometric patterns and brighter colors influenced by her time in Haiti and Africa. Though both artists drew from their experiences with other cultures, Wilson maintained a more traditional expressionist approach while Jones' work transformed over time to combine realism with cubist elements reflecting the rhythms and vibrancy of Africa.
This document provides biographical information about two artists, Aminah Brenda Lynn Robinson and Faith Ringgold. It summarizes that Aminah Robinson was born in 1940 in Ohio and is known for her paintings, drawings, cloth paintings, woodcuts, books and sculptures. It notes that Faith Ringgold was born in 1930 in Harlem, New York and is known as a painter, sculptor, teacher and author of children's books who is a feminist and anti-racist activist. It provides brief details about some of their artworks and materials used in Aminah Robinson's creative process.
This document discusses gender roles in art throughout history. It notes that males have traditionally been portrayed in strong, dominant roles, while females have been narrowly depicted as mothers, religious figures, or objects of temptation. However, as cultures changed, female representations gradually expanded. Modern artworks like Self-Portrait Sideways No. 3 and Untitled Film Still #35 challenge traditional gender norms. The document also discusses the feminist critique of exclusion of women in art institutions and Judy Chicago's The Dinner Party, which honors notable women. It explores how more recent art has begun to blur gender lines, depicting figures with ambiguous or mixed characteristics.
This art exhibition features colorful and powerful paintings by Ernie Barnes and Frank Morrison that portray African American culture. Both artists use vibrant colors and depict African Americans in a positive light. Frank Morrison's paintings "Freedom" and "Dream Catcher" showcase strong black women through movement and symbolism. Ernie Barnes' works like "Sugar Shack" and "Room Ful'A Sistahs" depict joyous community scenes through bright settings and many figures. The exhibition aims to appreciate and share the artists' celebration of African American history and experience.
Queer Art
- Queer art emerged in the late 1960s and 1970s as LGBTQ artists came out of the closet following the Stonewall riots, with concepts of censorship, visibility, and identity central themes
- In the 1980s-1990s, the AIDS crisis politicized queer identity further and the term "queer" was reclaimed from a pejorative to celebrate non-normative identities
- Queer artists have explored LGBTQ experiences through various mediums like photography, performance art, posters, and installations to increase representation and understanding of queer lives.
This document provides information on various artworks and artists that are being auctioned to raise funds for VAALA (Vietnamese American Arts & Letters Association). It includes biographies of 14 artists from Vietnam or the Vietnamese diaspora as well as descriptions, minimum bids, and increments for 28 separate artworks. The artworks span various mediums including paintings, photographs, sculptures, and textiles.
Varnette P. Honeywood and Lois Mailou Jones were two African American women artists during the Harlem Renaissance who differed greatly in their artistic styles. Honeywood's works featured bold colors, patterns and textures to depict changes within the African American community. Jones preferred softer brush strokes and colors, focusing on her perceptions of nature in a subtle style. While both participated in the Harlem Renaissance, their approaches to artwork diverged significantly after that period.
Discovering African American Art By Sondra De Lucasdeluca1
Ellis Wilson and Lois Mailou Jones were African American artists who found inspiration from visiting Haiti and experiencing African culture firsthand. Wilson's paintings depicted everyday life in Haiti through simple figures and use of color, while Jones' style evolved from impressionism to incorporating geometric patterns and brighter colors influenced by her time in Haiti and Africa. Though both artists drew from their experiences with other cultures, Wilson maintained a more traditional expressionist approach while Jones' work transformed over time to combine realism with cubist elements reflecting the rhythms and vibrancy of Africa.
This document provides biographical information about two artists, Aminah Brenda Lynn Robinson and Faith Ringgold. It summarizes that Aminah Robinson was born in 1940 in Ohio and is known for her paintings, drawings, cloth paintings, woodcuts, books and sculptures. It notes that Faith Ringgold was born in 1930 in Harlem, New York and is known as a painter, sculptor, teacher and author of children's books who is a feminist and anti-racist activist. It provides brief details about some of their artworks and materials used in Aminah Robinson's creative process.
This article summarizes an art exhibition called "More Is a Four Letter Word" that is part of the annual Art-a-Whirl celebration in Northeast Minneapolis. The exhibition features five young artists at the Fox Tax Gallery, an art gallery located in an accountant's office. The artists represent different styles including colorful, winsome paintings influenced by pop culture. The exhibition aims to highlight emerging local artists and focus the sprawling Art-a-Whirl event.
THE PICTURE OF DORIAN GRAY, OSCAR WILDE. Melody Polo
Lord Henry and Basil are in Basil's studio discussing Basil's portrait of Dorian Gray. Basil refuses to exhibit the portrait, saying there is too much of himself in it. Lord Henry is intrigued by Dorian and wants to know more. Basil recounts how he met Dorian at a party and was instantly fascinated by him, feeling Dorian would absorb his whole soul if he allowed it. Basil struggled to leave without speaking to Dorian but was introduced by Lady Brandon. Basil now feels Dorian's personality will influence his life and art.
Faith Ringgold is an American artist born in 1930 in Harlem, New York. She began her career as a painter in the 1960s and is best known for her painted story quilts that combine painting, quilted fabric, and storytelling. Some of her most famous works include her Tar Beach book and quilts from the 1980s and 1990s that depict African American family stories. Her art sends messages about important issues for African American women and features bright colors and images.
The document summarizes 6 photos and photographers:
1) Blake Little photographed models covered in honey to look like they were preserved in amber.
2) Alex Prager stages scenes that seem innocent at first glance but have an underlying sinister feel.
3) Nick Knight photographed models for W Magazine in 2012 mixing fashion from different eras to create a futuristic look.
4) Alexander Semenov takes surreal underwater photos of marine life to boost interest in marine biology.
5) Jane Long transformed old wartime photos into dreamlike portraits using color and surreal elements.
6) Jose Romussi challenges beauty standards by altering fashion photos with embroidery and unusual features.
This document analyzes the significance of graffiti and street art as forms of cultural heritage. It discusses how graffiti was traditionally seen as vandalism but is now recognized as a legitimate art form by many. Artists like Basquiat, Haring, Banksy and Steve Powers have helped shift perceptions by bringing graffiti beyond galleries into public spaces. While graffiti represents a more alternative form of cultural expression, its popularity and ability to beautify and comment on social issues demonstrates it embodies important cultural values for some communities. The document examines graffiti and street art's connections to heritage through case studies of specific works.
This document provides an overview of the proposed book "Dream of Venice." It will feature evocative photography of Venice by Charles Christopher accompanied by words from notable individuals who have been deeply affected by the city. Contributors include actresses, authors, poets, designers and others from various creative fields. The book aims to offer an alternative look at Venice beyond typical photography books, revealing intimate fragments and views through the fresh perspectives of its contributors. It will appeal to both travelers and armchair visitors interested in Italy. The creators plan to promote it through media placements, social media engagement of contributors, and regional book events.
1) The exhibition "Tennessee Williams: The Playwright and the Painter" at the Ogden Museum of Southern Art in New Orleans features over 30 paintings created by Tennessee Williams over 30 years. Williams would paint every afternoon in Key West using wine, Billie Holiday music, and paint as inspiration.
2) The paintings provide insight into Williams' sensual imagination and included themes of Christian crosses, water, and naked figures. They allowed Williams to express aspects of himself that he did not directly address in his plays, such as his homosexuality.
3) Many of the paintings were gifted to friends and lovers in Key West and were in danger of never being widely seen again until being collected for this exhibition. It
This document provides a production portfolio for Melyssa Hall, summarizing several plays she directed. It includes summaries of Aria Da Capo performed at Writers and Books in January 2015, which featured original banners and music. It also discusses Cow Town performed at MuCCC in July 2014, focusing on an intimate scene requiring nudity. Finally, it briefly outlines productions of Gruesome Playground Injuries at the Rochester Fringe Festival in 2013 and The Importance of Being Earnest at SUNY Geneseo in 2013, which took a camp aesthetic approach.
The document provides an overview of an art history course covering prehistory through the Gothic period. It discusses concepts like what is art, symbolic representation, and analyzing symbols in artworks. Examples are given of symbolic representations commonly used by artists, such as animals representing concepts like power for bulls or loyalty for dogs. Analysis of artworks involves determining the artist's intended message or developing your own interpretations.
1. The document provides context and analysis for several artworks and images, discussing their symbolic meanings and possible interpretations.
2. Key topics covered include definitions of art, purposes of art, symbolic representations in art like colors and objects, and analyzing specific works like paintings, sculptures, and photographs to understand the messages and ideas they portray.
3. Examples discussed in detail include the Statue of Liberty, a painting of a protest in France, and images used in advertising to understand how symbolism and interpretation can vary widely.
Tracey Emin is preparing for her upcoming exhibition at the Hayward Gallery in London, where she plans to push boundaries with her sculptures more than ever before. In a wide-ranging interview, Emin discusses feeling constrained in recent years but now wanting to take more risks in her work. She also talks about her success and influences, as well as personal struggles including a recent breakup and health issues. Emin is determined in her art to reclaim some of the boldness of her younger days and feels her best work may still be ahead of her.
1) Romare Bearden's 1977 collage "The Return of Odysseus (Homage to Pintoricchio and Benin)" depicts a scene from Homer's epic poem The Odyssey.
2) The collage pays homage to a Renaissance fresco by Pintoricchio as well as the artistic traditions of Benin sculptures. Bearden combines these influences with his signature collage technique.
3) The scene shows the climax of the story, in which Odysseus reveals his identity and defeats the suitors who have long occupied his palace during his absence.
Mrs. Eunice Johnson was a pioneering figure in bridging the divide between high fashion and the Black community in the mid-20th century. As the fashion editor of Ebony magazine and director of the famous Ebony Fashion Fair, she personally purchased over 8,000 garments from top designers and spent $1-1.5 million per year on clothes. She transformed Ebony's fashion pages and used the Fashion Fair to expose Black audiences to haute couture at a time when it was rarely accessible. Through her work, Mrs. Johnson helped bring European fashion to America and engage in "racial uplift through personal style."
The story follows Dorian Gray, a young and beautiful man. His portrait is painted by his friend Basil. When seeing his portrait, Dorian wishes he could remain young and beautiful forever while the portrait ages instead. His wish is granted, and as he engages in immoral acts, his portrait ages to reflect his corruption while he remains youthful. Over time, Dorian isolates himself and the portrait shows his evil nature. He eventually decides to destroy the portrait but instead is found dead, with his body appearing aged to match the portrait.
This document is an introduction to an edition of Oscar Wilde's novel The Picture of Dorian Gray. It discusses the differences between the original 1890 publication and the revised 1891 edition, noting that the 1891 version censors or redirects some of the social critique in response to criticism of the 1890 version. The introduction argues that the 1890 version more clearly communicates Wilde's aesthetic views and reveals the artist in the artwork, contrary to what is stated in the 1891 preface. It also suggests the preface should be read with nuance and as a response to censorship rather than taken at face value.
The Gilbert & Sullivan Society of Houston is presenting "A Topsy Turvy Mikado", a new take on the classic operetta "The Mikado". The play takes place in 1885 during one of the final rehearsals before opening night. It is directed by Alistair Donkin and features the songs and characters from the original production. The performance puts a new spin on the story by portraying the rehearsal process and including humor about preparing the actors for their roles.
This document provides an overview of women artists throughout history and how their roles influenced their art. It begins with a definition of "great art" and lists some male artists generally considered great. It then highlights works from several female artists such as Georgia O'Keeffe, Frida Kahlo, and Judy Chicago. The document poses essay questions about how women's roles shaped the significance of their art and how social ideals become art movements. It aims to have students consider how perceptions of women artists have changed over the past three centuries.
The document summarizes The Picture of Dorian Grey by Oscar Wilde. It describes the main characters including Dorian Grey, a handsome young man whose portrait is painted. Through the influence of Lord Henry Wotton, Dorian wishes for the portrait to age instead of himself. His wish comes true, and as he engages in vice over 18 years, the portrait ages and reflects his corruption while his outward appearance remains unchanged. In the end, Dorian destroys the portrait in a fit of rage and is found dead, his body now reflecting the sins of his life.
An even bigger issue this time, with 12 bumper pages of arty stuff. Peterborough Artist Open studios, Summer Exhibition plus Idea 1’s new website launch and more.
This document provides background information on several street art murals located in Penang, Malaysia. It includes details on the artists who created the murals, descriptions of the artworks, and analyses using concepts from effective public communication. Murals discussed include "Evocative Mural Work" by Vexta, "Girl on a Turtle" by Ernest Zacharevic and Martin Ron, "Hand with Apple" by Anokayer, and "Air Floating Fantasy" by The Sliz. Background information is given on each artist and analyses explore non-verbal messages, codes, and other EPC concepts conveyed through the murals.
Andy Warhol was born in 1928 in Pittsburgh, Pennsylvania to immigrant parents from Slovakia. He showed an early interest in art and pursued commercial art studies after high school. In the 1960s, Warhol became famous for his pop art paintings of everyday objects and celebrities. Throughout his career, Warhol pioneered new artistic techniques including silkscreen printing and studio collaborations. He remained a highly influential artist until his death in 1987.
La Unión Europea ha acordado un embargo petrolero contra Rusia en respuesta a la invasión de Ucrania. El embargo prohibirá las importaciones marítimas de petróleo ruso a la UE y pondrá fin a las entregas a través de oleoductos dentro de seis meses. Esta medida forma parte de un sexto paquete de sanciones de la UE destinadas a aumentar la presión económica sobre el gobierno de Putin.
This article summarizes an art exhibition called "More Is a Four Letter Word" that is part of the annual Art-a-Whirl celebration in Northeast Minneapolis. The exhibition features five young artists at the Fox Tax Gallery, an art gallery located in an accountant's office. The artists represent different styles including colorful, winsome paintings influenced by pop culture. The exhibition aims to highlight emerging local artists and focus the sprawling Art-a-Whirl event.
THE PICTURE OF DORIAN GRAY, OSCAR WILDE. Melody Polo
Lord Henry and Basil are in Basil's studio discussing Basil's portrait of Dorian Gray. Basil refuses to exhibit the portrait, saying there is too much of himself in it. Lord Henry is intrigued by Dorian and wants to know more. Basil recounts how he met Dorian at a party and was instantly fascinated by him, feeling Dorian would absorb his whole soul if he allowed it. Basil struggled to leave without speaking to Dorian but was introduced by Lady Brandon. Basil now feels Dorian's personality will influence his life and art.
Faith Ringgold is an American artist born in 1930 in Harlem, New York. She began her career as a painter in the 1960s and is best known for her painted story quilts that combine painting, quilted fabric, and storytelling. Some of her most famous works include her Tar Beach book and quilts from the 1980s and 1990s that depict African American family stories. Her art sends messages about important issues for African American women and features bright colors and images.
The document summarizes 6 photos and photographers:
1) Blake Little photographed models covered in honey to look like they were preserved in amber.
2) Alex Prager stages scenes that seem innocent at first glance but have an underlying sinister feel.
3) Nick Knight photographed models for W Magazine in 2012 mixing fashion from different eras to create a futuristic look.
4) Alexander Semenov takes surreal underwater photos of marine life to boost interest in marine biology.
5) Jane Long transformed old wartime photos into dreamlike portraits using color and surreal elements.
6) Jose Romussi challenges beauty standards by altering fashion photos with embroidery and unusual features.
This document analyzes the significance of graffiti and street art as forms of cultural heritage. It discusses how graffiti was traditionally seen as vandalism but is now recognized as a legitimate art form by many. Artists like Basquiat, Haring, Banksy and Steve Powers have helped shift perceptions by bringing graffiti beyond galleries into public spaces. While graffiti represents a more alternative form of cultural expression, its popularity and ability to beautify and comment on social issues demonstrates it embodies important cultural values for some communities. The document examines graffiti and street art's connections to heritage through case studies of specific works.
This document provides an overview of the proposed book "Dream of Venice." It will feature evocative photography of Venice by Charles Christopher accompanied by words from notable individuals who have been deeply affected by the city. Contributors include actresses, authors, poets, designers and others from various creative fields. The book aims to offer an alternative look at Venice beyond typical photography books, revealing intimate fragments and views through the fresh perspectives of its contributors. It will appeal to both travelers and armchair visitors interested in Italy. The creators plan to promote it through media placements, social media engagement of contributors, and regional book events.
1) The exhibition "Tennessee Williams: The Playwright and the Painter" at the Ogden Museum of Southern Art in New Orleans features over 30 paintings created by Tennessee Williams over 30 years. Williams would paint every afternoon in Key West using wine, Billie Holiday music, and paint as inspiration.
2) The paintings provide insight into Williams' sensual imagination and included themes of Christian crosses, water, and naked figures. They allowed Williams to express aspects of himself that he did not directly address in his plays, such as his homosexuality.
3) Many of the paintings were gifted to friends and lovers in Key West and were in danger of never being widely seen again until being collected for this exhibition. It
This document provides a production portfolio for Melyssa Hall, summarizing several plays she directed. It includes summaries of Aria Da Capo performed at Writers and Books in January 2015, which featured original banners and music. It also discusses Cow Town performed at MuCCC in July 2014, focusing on an intimate scene requiring nudity. Finally, it briefly outlines productions of Gruesome Playground Injuries at the Rochester Fringe Festival in 2013 and The Importance of Being Earnest at SUNY Geneseo in 2013, which took a camp aesthetic approach.
The document provides an overview of an art history course covering prehistory through the Gothic period. It discusses concepts like what is art, symbolic representation, and analyzing symbols in artworks. Examples are given of symbolic representations commonly used by artists, such as animals representing concepts like power for bulls or loyalty for dogs. Analysis of artworks involves determining the artist's intended message or developing your own interpretations.
1. The document provides context and analysis for several artworks and images, discussing their symbolic meanings and possible interpretations.
2. Key topics covered include definitions of art, purposes of art, symbolic representations in art like colors and objects, and analyzing specific works like paintings, sculptures, and photographs to understand the messages and ideas they portray.
3. Examples discussed in detail include the Statue of Liberty, a painting of a protest in France, and images used in advertising to understand how symbolism and interpretation can vary widely.
Tracey Emin is preparing for her upcoming exhibition at the Hayward Gallery in London, where she plans to push boundaries with her sculptures more than ever before. In a wide-ranging interview, Emin discusses feeling constrained in recent years but now wanting to take more risks in her work. She also talks about her success and influences, as well as personal struggles including a recent breakup and health issues. Emin is determined in her art to reclaim some of the boldness of her younger days and feels her best work may still be ahead of her.
1) Romare Bearden's 1977 collage "The Return of Odysseus (Homage to Pintoricchio and Benin)" depicts a scene from Homer's epic poem The Odyssey.
2) The collage pays homage to a Renaissance fresco by Pintoricchio as well as the artistic traditions of Benin sculptures. Bearden combines these influences with his signature collage technique.
3) The scene shows the climax of the story, in which Odysseus reveals his identity and defeats the suitors who have long occupied his palace during his absence.
Mrs. Eunice Johnson was a pioneering figure in bridging the divide between high fashion and the Black community in the mid-20th century. As the fashion editor of Ebony magazine and director of the famous Ebony Fashion Fair, she personally purchased over 8,000 garments from top designers and spent $1-1.5 million per year on clothes. She transformed Ebony's fashion pages and used the Fashion Fair to expose Black audiences to haute couture at a time when it was rarely accessible. Through her work, Mrs. Johnson helped bring European fashion to America and engage in "racial uplift through personal style."
The story follows Dorian Gray, a young and beautiful man. His portrait is painted by his friend Basil. When seeing his portrait, Dorian wishes he could remain young and beautiful forever while the portrait ages instead. His wish is granted, and as he engages in immoral acts, his portrait ages to reflect his corruption while he remains youthful. Over time, Dorian isolates himself and the portrait shows his evil nature. He eventually decides to destroy the portrait but instead is found dead, with his body appearing aged to match the portrait.
This document is an introduction to an edition of Oscar Wilde's novel The Picture of Dorian Gray. It discusses the differences between the original 1890 publication and the revised 1891 edition, noting that the 1891 version censors or redirects some of the social critique in response to criticism of the 1890 version. The introduction argues that the 1890 version more clearly communicates Wilde's aesthetic views and reveals the artist in the artwork, contrary to what is stated in the 1891 preface. It also suggests the preface should be read with nuance and as a response to censorship rather than taken at face value.
The Gilbert & Sullivan Society of Houston is presenting "A Topsy Turvy Mikado", a new take on the classic operetta "The Mikado". The play takes place in 1885 during one of the final rehearsals before opening night. It is directed by Alistair Donkin and features the songs and characters from the original production. The performance puts a new spin on the story by portraying the rehearsal process and including humor about preparing the actors for their roles.
This document provides an overview of women artists throughout history and how their roles influenced their art. It begins with a definition of "great art" and lists some male artists generally considered great. It then highlights works from several female artists such as Georgia O'Keeffe, Frida Kahlo, and Judy Chicago. The document poses essay questions about how women's roles shaped the significance of their art and how social ideals become art movements. It aims to have students consider how perceptions of women artists have changed over the past three centuries.
The document summarizes The Picture of Dorian Grey by Oscar Wilde. It describes the main characters including Dorian Grey, a handsome young man whose portrait is painted. Through the influence of Lord Henry Wotton, Dorian wishes for the portrait to age instead of himself. His wish comes true, and as he engages in vice over 18 years, the portrait ages and reflects his corruption while his outward appearance remains unchanged. In the end, Dorian destroys the portrait in a fit of rage and is found dead, his body now reflecting the sins of his life.
An even bigger issue this time, with 12 bumper pages of arty stuff. Peterborough Artist Open studios, Summer Exhibition plus Idea 1’s new website launch and more.
This document provides background information on several street art murals located in Penang, Malaysia. It includes details on the artists who created the murals, descriptions of the artworks, and analyses using concepts from effective public communication. Murals discussed include "Evocative Mural Work" by Vexta, "Girl on a Turtle" by Ernest Zacharevic and Martin Ron, "Hand with Apple" by Anokayer, and "Air Floating Fantasy" by The Sliz. Background information is given on each artist and analyses explore non-verbal messages, codes, and other EPC concepts conveyed through the murals.
Andy Warhol was born in 1928 in Pittsburgh, Pennsylvania to immigrant parents from Slovakia. He showed an early interest in art and pursued commercial art studies after high school. In the 1960s, Warhol became famous for his pop art paintings of everyday objects and celebrities. Throughout his career, Warhol pioneered new artistic techniques including silkscreen printing and studio collaborations. He remained a highly influential artist until his death in 1987.
La Unión Europea ha acordado un embargo petrolero contra Rusia en respuesta a la invasión de Ucrania. El embargo prohibirá las importaciones marítimas de petróleo ruso a la UE y pondrá fin a las entregas a través de oleoductos dentro de seis meses. Esta medida forma parte de un sexto paquete de sanciones de la UE destinadas a aumentar la presión económica sobre el gobierno de Putin.
The Guerrilla Girls are an anonymous group of feminist artists founded in New York City in 1984. They use guerrilla tactics like posters, ads and public interventions to expose gender and racial bias and promote women in the arts. Some key points:
- Members always wear gorilla masks in public and use pseudonyms of dead female artists to maintain anonymity and focus on the issues.
- Their strategies have included ads naming biased institutions, infiltrating art hierarchies with stickers, and conducting "weenie counts" to expose gender imbalances in museum exhibitions.
- They produce provocative posters and public interventions on topics like discrimination in museums, Hollywood, and political issues affecting women's rights.
KCC Art 211 Ch 23 Postwar Modern Movements In The WestKelly Parker
The document summarizes several modern art movements that emerged in the West after World War II, including Abstract Expressionism, Pop Art, Minimalism, Earth Art, Installations, and Performance Art. It provides background on influential artists such as Pollock, Rothko, Warhol, Oldenburg, Judd, Smithson, and Chicago and describes characteristics of their works.
This document discusses the changing depictions of male and female nudes in art over time. It addresses how gender roles were traditionally divided in the art world, with different fields dominated by men or women. It provides links to visual timelines showing how the depiction of males and females in art progressed. It discusses how society and audiences can influence subject matter and how some artists rebelled against traditional norms. One example discussed is the work of the Guerrilla Girls addressing the lack of female artists represented at the Met Museum. The document also directs readers to videos of an art critic discussing gender perspectives in art.
This document provides an overview of modern art, science, and society from 1815-1914. It summarizes key developments in several areas: Romanticism focused on nature and individual genius; Realism portrayed working class life realistically; Darwin proposed natural selection and ideas of social Darwinism emerged; modern physics advanced with discoveries like x-rays; Impressionism involved painting outdoor scenes; photography and film were invented; standards of living and leisure activities increased for many. Overall it describes major cultural, scientific, economic and social changes during this period.
Pop Art emerged in the late 1950s as a reaction against Abstract Expressionism, utilizing imagery and techniques from popular culture such as advertisements, comics, and consumer goods. Pop artists like Andy Warhol, Roy Lichtenstein, and Claes Oldenburg appropriated mass media images and transformed everyday objects and celebrities through techniques like silkscreening that commented on consumer culture and mass production. Their use of recognizable imagery made Pop Art widely accessible and helped blur the lines between high and low art.
This document discusses the history and legacy of feminist art from the 1970s to present day. It provides context on early feminist artists like Carolee Schneemann and Judy Chicago and their goals of creating art that represented women's experiences. It then discusses how contemporary artists like Oriana Fox have engaged with and reinterpreted this feminist legacy in new ways. The document examines different perspectives on what feminist art means today and includes images and discussions of various feminist artworks over time to illustrate these themes.
For centuries women and artists of color have had little voice in history and the art world. Today the art world is slowly accepting these artists and they are getting to tell their part of history.
The feminist art movement grew out of 1960s activist movements and aimed to reclaim women's rights as artists, challenge stereotypical representations of women, recover women's history, and reaffirm feminine craft traditions. Artists like Alice Neel, Sylvia Sleigh, and Lynda Benglis sought to overturn traditional gender roles that portrayed men as active subjects and women as passive objects by creating role-reversing artwork. The movement also aimed to address how women were typically depicted in stereotypical roles as sex objects, ideal mothers, or witches and question women's prescribed roles in society.
INTRODUCTION FEMINISM ANDART IN THE TWENTIETHCENT.docxvrickens
INTRODUCTION:
FEMINISM AND
ART IN THE
TWENTIETH
CENTURY
BY NORMA BROUDE AND MARY D. GARRARD
What is feminist art? In the early 1970s, artists, critics, and his
torians who were part of the feminist movement believed that,
like the women’s movement itself, art made by feminist women
represented a radical new beginning, a Part Two in the history
of Western culture to complement the largely masculine history
that would now become Part One. The goal of feminism, said
early spokeswomen, was to change the nature of art itself, to
transform culture in sweeping and permanent ways by introduc
ing into it the heretofore suppressed perspective of women.1 In
the new world order that would follow —Part Three —there
would be gender balance in art and culture, and “universality”
would represent the experiences and dreams of both females
and males.
Twenty years later, we may smile at so utopian a vision, hav
ing learned that there is no such thing as a singular female
perspective; that not all art by women is feminist, not even all
art made by women who are feminists; having lived to see the
Feminist Art movement of the 1970s contextualized by critics
and historians as just another avant-garde movement followed by
other movements; and finding ourselves in a period that is
chillingly (to feminists) called “postfeminist,” in which self-
defined feminist art continues to be made, but in forms that dif
fer radically from their 1970s predecessors.
How then do we situate the Feminist Art movement on the
broader stage, conceptually and historically? Is it merely another
phase of avant-garde? Or is it not, rather, to borrow a phrase
that has been used to describe the cultural climate of the 1960s,
“one of those deep-seated shifts of sensibility that alter the
whole terrain”?2 The feminist critic Lucy R. Lippard argued
persuasively in 1980 that feminist art was “neither a style nor a
movement,” but instead “a value system, a revolutionary strat
egy, a way of life,” like Dada and Surrealism and other nonstyles
that have “continued to pervade all movements and styles ever
since.”3 What was revolutionary in feminist art, Lippard ex
plained, was not its forms but its content. Feminist artists’
insistence on prioritizing experience and meaning over form
and style was itself a challenge to the modernist valorization of
"progress” and style development: “in endlessly different ways,”
wrote Lippard, “the best women artists have resisted the tread
mill to progress by simply disregarding a history that was not
theirs. Thus the agenda of feminist art could not be subsumed
into that of modernism, and the very appearance of feminist art
as early as 1970 was a distant early warning that modernism,
and its theoretical commitment to formal values alone, was des
tined to become a finite historical stage, in this case to be
replaced by postmodernism.
Feminist art and art history helped to initiate postmodern
ism in America. We owe to ...
Shirin Neshat is an Iranian visual artist known for her artwork exploring contrasts between East and West through film, photography, and video. Some of her most notable works include the Unveiling and Women of Allah photo series from the 1990s and her 2009 film Women Without Men. Neshat's work often incorporates Persian poetry and calligraphy to examine themes of femininity, identity, and life in Islamic societies. She has had major exhibitions around the world and received many honors, including being named Artist of the Decade by the Huffington Post in 2010.
This document discusses postmodern architecture and provides several examples. It begins by explaining that postmodern architecture rejected modernism's focus on function and uniformity, instead embracing historical styles and complexity. It then summarizes key postmodern buildings like the Vanna Venturi House, Portland Building, and Neue Staatsgalerie museum, noting their use of historical references and decorative elements. The document concludes by discussing postmodern architecture in Chicago, like the Harold Washington Library.
SHGC The Women’s Art Movement (Realism) Part 1rachaelwhare
The Women's Art Movement emerged in the late 1960s alongside the broader Women's Liberation Movement. Women artists found that the art world was dominated by men, as galleries and exhibitions primarily showed work by male artists. In response, women artists began organizing protests and alternative exhibition spaces to highlight women's exclusion from the mainstream art scene. They also developed feminist art theories and imagery that represented women's experiences and challenged patriarchal norms. Some key strategies included collaborative work, reclaiming craft techniques, and developing new female-centered subject matter. Major artists like Judy Chicago played a leading role in developing feminist art in the United States.
Louise Bourgeois was a renowned French-American artist born in 1911 who lived until 2010. She was inspired by surrealist artists and is best known for her emotionally evocative sculptures which often explored feminist themes of gender roles, domesticity, and power dynamics between men and women. Bourgeois helped pioneer the feminist art movement beginning in the 1960s through works that reflected women's experiences and lives to bring more visibility to women in art. Her sculptures dealt with personal and psychological themes from her own life and addressed issues like abandonment, dependence, and entrapment. Bourgeois had a significant influence on generations of artists and helped advance women's roles in the art world.
This document discusses different theories of what art is through examples from art history. It explores the ideas that art is representation, imitation or depiction of reality; art is about form, composition, color and other design elements; and art is expression of emotions. It also discusses the view that anything can potentially be considered art. Examples discussed include cave paintings, classical sculptures, Renaissance art, modern photography and contemporary installation and performance art. The document aims to illustrate different philosophical perspectives on the purpose and nature of art through visual examples.
This document discusses issues related to women in art and new media. It provides statistics showing that while women earn over half of MFAs and make up 51% of visual artists, only 5% of art in museums and 3% of artists in the Modern Art section of the Met are women. It then profiles several influential feminist artists including Jenny Holzer, Nan Goldin, Petra Collins, and Judy Chicago, discussing their groundbreaking work addressing themes like sexuality, the female body, and the male gaze from a woman's perspective.
SHGC The Womens Art Movement (Realism) Part 2rachaelwhare
The document discusses several feminist artists from the 1960s-1980s including Judy Chicago, Miriam Schapiro, and Barbara Kruger. It summarizes Judy Chicago's 1983 Birth Project which involved over 130 needleworkers collaborating to create images of birth. It also discusses Schapiro's use of textiles and domestic crafts to highlight women's roles and experiences, as well as her co-founding of the feminist art program with Chicago. Kruger is noted for combining found photography with bold text to critique media images and cultural forces that shape gender roles.
The document discusses the importance of controversial art throughout history and in contemporary society. It explores how controversial art has contributed to the development of new artistic movements and styles, from Picasso's Les Demoiselles d'Avignon to Tracy Emin's My Bed. The document also examines how controversial art continues to be a platform for political and social commentary, as seen in the works of Ai Weiwei, Pussy Riot, and Ti-Rock Moore. While some view controversial art as irrelevant in today's world, the document argues it still plays a vital role in innovation, self-expression, and sparking important discussions.
This exhibition at the Ellarslie Museum explores African American art collected by African American women. It features works in various mediums from both prominent and lesser-known artists. At the center are five serigraphs by Romare Bearden depicting biblical stories that convey messages of tradition and value. Other artists represented, like Mercy Moyo and Mickalene Thomas, use imagery of strong African American women. Themes of family, home, and shared cultural experiences are prominent. Mediums like collage and portraiture allow artists to represent the multidimensional nature of African American life. Collectors are also profiled who support artists and collect works that celebrate African American resilience, beauty, and history.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
1. Guerrilla Girls, Do Women Have to Be Naked to Get into the Met. Museum? 1989
Look Again: Expanding Feminist Possibilities
Taylor Davis
Throughout much of Western history, discriminatory laws and restrictive
cultural norms have prevented all but a few women from pursuing independent
artistic careers. In her groundbreaking 1971 essay, Why Have There Been No
Great Women Artists?, art historian Linda Nochlin argued that “institutionally
maintained sexism against women,” rather than a lack of artistic talent or
creativity, had prevented women artists from achieving parity with male artists.
Nevertheless, by the 20th
century a growing number of women managed to
establish artistic careers, and by the late 1960s many women artists were creating
feminist artworks that challenged the patriarchal status quo. While the number of
works by women artists in U.S. museum collections has increased since the
1960s, museums have been shamefully slow to display art by female artists on
their walls. The general paucity of art made by women on museum walls
highlights the continued relevance of exhibitions like Look Again: Expanding
Feminist Possibilities, which presents the work of seven women artists, and one
all-women collective, whose works engage with feminist themes.
While all feminist art challenges sexism, the range of practices is
heterogeneous and not restricted by form or media. Popular conceptions of
feminist art often ignore the endless potential and diversity of feminist art. The
works included in Look Again defy narrow definitions, and range from highly
political calls for gender equality to quieter reflections on women’s domestic
production. These works demonstrate the multiplicity of feminist art, and banish
any misconception that feminist art is simplistic or otherwise restrictive. Most
significantly, this feminist exhibition strives to indict the art establishment’s sexist
exclusion of art made by women.
The Guerrilla Girls have been indicting the art establishment’s sexism and
racism with their brand of feminist art since the 1980s. A group of anonymous
activists and artists committed to combatting inequality in the art world, the
Guerrilla Girls have created posters, billboards, and books which blend biting
honesty and keen wit to critique art world injustice. Rather than quietly advocate
for change within the art establishment, the Guerrilla Girls adopted a firm outsider
status, calling out museums, galleries, and art collectors’ biases in front of a large
public audience. The group’s members don gorilla masks when making public
appearances, and use historically famous female artists’ names as pseudonyms in
order to preserve their anonymity.
In response to the art establishment’s lack of interest in art by women,
the Guerrilla Girls created hard-hitting posters such as Do Women Have to Be
Naked to Get into the Met. Museum? and Advantages of Being a Woman Artist.
Upon their discovery that a scant 5% of the art in the Metropolitan Museum’s
Modern Art wing was made by women, while a startling 85% of the nudes were
female, the Guerilla Girls created a poster that asked: “Do women have to be
naked to get into the Met. Museum?” Featuring a simplified version of La Grande
Odalisque, a famous 19th
century nude painted by the French Neoclassicist Jean-
Auguste-Dominique Ingres, wearing one of the Guerrilla Girls’ trademark gorilla
masks, the poster serves as a provocative indictment of the art world’s dismissal
of art made by women and its disproportionate consumption of the naked female
form.
Similar to the Guerrilla Girls’ bold reaction to inequalities within the art
world, the early video work of American artist Sadie Benning confidently exposes
and challenges repressive cultural norms. Born in 1973, Benning is a lesbian
videographer who began making self-reflective videos with a Fisher Price
Pixelvision toy camera as a young teen. Featuring close ups shots of hand
scrawled text, shaky camera footage, and music by the punk rock band Bikini Kill,
Benning’s Girl Power reflects the artist’s aggressive, in-your-face approach to
video making. Created in 1992 when Benning was 19 years old, Girl Power relates
the artist’s personal rebellion against female stereotypes and her struggle for
personal freedom. With a decidedly punk aesthetic featuring grainy, low-quality
footage captured by the toy camera, Girl Power rejects traditional standards of
videography. Informed by the underground riot grrrl movement of the 1990s,
Benning’s roughly hewn Girl Power reinvents the image politics of female youth,
rejecting politeness and passivity in favor of radical independence.
In Girl Power, Benning’s confrontational, irreverent attitude acquires
political resonance. Within the narrative, Benning’s refusal to attend school, where
she has been bullied for her lesbian identity, signals her fundamental rejection of
homophobic cultural norms. Taking a firm, countercultural stance, Benning is a
revolutionary, who closes her film with shots of handwritten notes insisting, “the
time for revolution is now” and warning us to “watch out for girl power.” Benning
not only rejects gender-based oppression, but also offers hope of a more liberated
future.
Hend Al-Mansour, Haneen, 2016
Like Sadie Benning’s Girl Power, Hend Al-Mansour’s Haneen affirms a
woman’s lesbian identity. Yet the style of the two works is markedly different.
While Benning’s Girl Power is an aggressive shout, Al-Mansour’s installation is a
reflection on the sacred quality of the erotic. Born in Saudi Arabia, Hend Al-
Mansour practiced medicine for many years before immigrating to the United
States in 1997 and becoming a full-time artist in 2000. Now based in the Twin
Cities, Al-Mansour’s work employs Arabic and Islamic designs, and investigates
themes of identity, gender politics, and inequality. An installation based on the
artist’s encounter with a Christian Arab woman who immigrated to the United
States, Haneen is a shrine-like space which viewers are invited to enter. Haneen,
an Arabic name that means longing, desire, and nostalgia, is a pseudonym chosen
by the woman on whom the work is based, and it is a fitting title for the work.
Rejected by her family because she is a lesbian, the woman whose likeness
appears inside the installation confessed to Al-Mansour that while she is pleased
with her life and career in the United States, she continues to long for her family’s
love and acceptance.
The installation’s sensuous red and pink tones, combined with the
geometric designs printed on Haneen’s fabric walls and floor create an interior
space which feels both sacred and erotic. An attractive, reclining nude portrait of
Haneen covers the installation’s back wall. The central focus of the work, the
prominence of this voluptuous nude solidifies the space’s potent erotic charge. Yet
the installation is not a space in which viewers are encouraged to objectify the
nude female form. Before entering the innermost portion of the structure, viewers
must confront a medusa-like portrait of Haneen’s face. While traditional female
nudes privilege the heterosexual male viewer, encouraging him to find sexual
gratification by gazing upon the passive female body, the presence of Haneen’s
face in the installation’s corridor ensures Haneen’s active, independent role in the
work. In the corridor, Haneen looks confidently out at the viewer, the scale of the
portrait ensuring that her gaze will not pass unnoticed. Like Medusa who turned
those who dared look upon her face to stone, Haneen’s unflinching countenance
serves as a talisman meant to counteract objectifying glances. Haneen presents
the nude female form in all its erotic glory. But Haneen’s piercing gaze, combined
with Al-Mansour’s request that
viewers remove their shoes prior
to entering the installation,
ensure that this work presents
viewers with a strong,
autonomous woman in whose
presence they are honored to
stand.
Much like Hend Al-Mansour’s
Haneen, Patricia Olson’s Baubo
presents viewers with a portrait
of a woman who is in full control
of her sexuality. In this
rambunctious painting we are
confronted by Baubo, a bawdy
trickster figure from ancient
Greek mythology. A mature
crone, Baubo played an important
role in the ancient Greek
Eleusinian Mysteries. Baubo
restored harmony and order to
the world when she cheered up
Demeter, who was despondent
over Hades’ abduction of her
daughter Persephone. With her
daughter locked away in the underworld, Demeter refused to bring fertility to the
earth, and thus humankind was locked in a perpetual, barren winter. Baubo
helped shake Demeter from her depression by jokingly lifting her skirt over her
head and flashing Demeter. Her spirits lifted by Baubo, Demeter found a way to
temporarily rescue her daughter Persephone from the depths of Hades, and to
thereby bring springtime and fertility back to the earth.
Patricia Olson, Baubo 2007
2. Patricia Olson, a Twin Cities-based artist, is a founding member of the
Women’s Art Registry of Minnesota (WARM). She has been creating feminist work
since the 1970s. Fellow artist and friend of Olson’s, Sandra Menafee Taylor, posed
as Baubo for Olson’s painting. Dressed in a bright yellow dress with matching
glasses and jewelry, Taylor is impossible to miss. Although the diminutive clay
figures hung in rows behind Taylor harken to ancient Greek processions
celebrating the Baubo-Demeter myth, Taylor’s contemporary clothing emphasizes
the painting’s modern-day relevance. Indeed, Taylor’s giddy expression serves as
a playful rejection of contemporary, youth-obsessed culture that considers older
women’s sexuality taboo or nonexistent. Far from being desexualized, this mature
woman happily owns her sexuality, celebrating the fullness of her life.
Like Olson’s Baubo, Minnesota-based artist Jessica Larson’s Euphemenses
series questions societal taboos surrounding women and their bodies. A portrait of
one woman’s menstruation, Larson used the stains created by her own menstrual
flow as inspiration for this series. The humorous titles of the works, such as Kitty
Has a Nose Bleed and Having the Painters In, spring from the many euphemisms
women use to refer to menstruation. Considered an inappropriate topic for polite
conversation, menstruation is often discussed in veiled, euphemistic terms. In
addition to being considered taboo, the fact of menstruation has long been used
to marginalize women and to cast them as hysterical, moody, and unreliable.
Frustrated by remarks such as those made by Donald Trump, who suggested on
national television that journalist Megyn Kelly had “blood coming out of her
wherever,” Jessica Larson’s work strips the taboo from menstruation and
confronts the viewer with the reality of a natural, bodily function. Created through
a combination of Photoshop and computerized sewing, Euphemenses presents the
viewer with artfully cropped and vibrantly colored representations of menstrual
blood that question why menstruation is still stigmatized. Created using a
technically sophisticated version of stich work, a traditionally feminine medium,
the richly textured surfaces of the Euphemenses series are reminiscent of Abstract
Expressionist painting. Works by male painters like Jackson Pollock and Willem de
Kooning, both part of the male-dominated movement which began in New York
City during the 1940s, are often viewed as the epitome of American painting. In
contrast, traditionally feminine art forms and media, such as textiles and stitch
work, have been maligned as mere craft. The Euphemenses series disputes this
patriarchal hierarchy by combining disparaged textile work with the textured
strokes of Abstract Expressionism.
Echoing the densely intertwined strands of thread in Larson’s
Euphemenses series, the intense, curling skeins of hair in Kiki Smith’s lithographic
print, Untitled (Hair), form a portrait of female hair which rejects traditional
standards of feminine beauty. First active in the 1970s, American artist Kiki Smith
is best known for her sculptures of the human body, in which she frequently re-
imagines traditional images of women. Untitled (Hair), created from photocopied
images of the artist’s own hair, stands in stark contrast to traditional portraits of
women. In this self-portrait, the distorted imprint of the artist’s face appears in all
but one of the print’s corners. Reminiscent of the portrait of Haneen’s face which
hangs inside the entryway of Al-Mansour’s installation and turns away objectifying
glances, Smith’s print presents the viewer with a self-possessed, even menacing
depiction of a woman, which counteracts any attempt to objectify the female form
it represents.
While many of the works included in Look Again approach feminist
themes directly through the use of text, or through the use of woman-centric
imagery, Elizabeth Garvey’s Selkie Wife Series and Mary Berg’s A Visible
Configuration are less immediately obvious, yet equally rich examples of feminist
art. With an interest in exploring feminist possibilities through traditionally
masculine formats, the Twin Cities-based artist Mary Bergs has created an
installation of crisply folded file folders reminiscent of Minimalism’s austere
geometric forms. But Berg’s bright pink folders, which appear to be joyfully
undressing as they move across the wall, offer a playful retort to the staid
production of the boys’ club of 1960s Minimalism. The file folders that make up A
Visible Configuration hail from the traditionally masculine domain of the office, so
it is surprising to find the folders in such a bright, girly-pink color. This contrast
encourages viewers to consider the socially reinforced gendering of colors, as well
as the supposed divide between the “masculine” sphere of work outside the home
and the “feminine” sphere of work inside the home.
Rather than reject the materials frequently associated with domesticity
and femininity, Elizabeth Garvey exploits both domestic materials and domestic
scale in order to create the Selkie Wife Series. The series explores a myth told
among the Celts, the Scots, and other maritime cultures, from a selkie woman’s
point of view. Selkies are mythological seal creatures capable of shedding their
sealskin and living on land. In some versions of the myth, a calculating human
male suitor steals and hides a female selkie’s sealskin, thus forcing her to remain
on land with him. Trapped on land and prevented from returning to her ocean
home, the selkie is forced to enter the domestic sphere, where she performs her
daily tasks while yearning for the sea.
Unlike the monumental
bronze and marble
sculptures dominating the
history of Western art,
Garvey’s Selkie Wife Series
consists of delicate,
domestically-scaled works
that reflect the day-to-day
struggles of a land-trapped
selkie wife. Her work, like
that of many contemporary
women, is a labor of love.
Yet the selkie’s entrapment
transforms her daily routine
into a burdensome duty.
The slender sewing needles and thread immobilized by stones in Burdens to Bear
reflect the selkie’s sense of being held back from her potential. The crushed rose
petals of Love or Duty? underscore the ephemeral nature of cleaning and cooking,
domestic duties with which many women are still disproportionately burdened.
Through its embrace of domestic scale and delicate materials, the Selkie Wife
Series both challenges the dismissal of traditionally feminine materials such as
lace and thread while simultaneously exploring the fact that women still do most
of the domestic labor in the home.
The works included in Look Again: Expanding Feminist Possibilities
challenge the patriarchal history of Western art through their use of traditionally
feminine media, feminist subversions of the male gaze, reflections upon
traditionally masculine contexts, and their rebellion against oppressive taboos.
Varying widely in form, content, and style, feminist art created by women artists
has much to offer. Sadly, too little art by women artists is being made available
for the public to see. In 2012, the Guerrilla Girls returned to the Metropolitan
Museum of Art in New York City to update their 1989 count of works by male and
female artists in the museum’s Modern Art wing. Disappointingly, the percent of
female artists on display had decreased to a dismal four percent. As long as
women and other marginalized groups are denied equitable space on museum
walls the richness and diversity of the art world will suffer. What Sadie Benning
said in her 1992 video, Girl Power, is still pertinent: “the time for revolution is
now.”
Curated by Taylor Davis
February 9 – March 6, 2016
Opening Reception:
Friday, February 19, 7–9 p.m.
Flaten Art Museum
Elizabeth Garvey, Burdens to Bear, 2015
Cover Image: Jessica Larson, On the Blob, 2015
Look Again:
Expanding Feminist
Possibilities