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WOMEN ARTISTS.
Term Paper ID:29697
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Essay Subject:
Emergence of feminist themes in work of women artists.... More...
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5 Pages / 1125 Words
6 sources, 13 Citations,
MLA Format
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Paper Abstract:
Emergence of feminist themes in work of women artists. Discusses period from 1950s to the present. Thesis is that feminist themes were employed to challenge stereotypes of women's role, women's place, and women's artistic expression. Examines the work of four women artists--Judy Chicago, Janine Antoni, Barbara Kruger, and Carrie Mae Weems. The female iconography.
Paper Introduction:
Sociological Obstacles for Modern Women in Western Society:
Perspectives of Selected Women Artists
I. Introduction
The purpose of this descriptive research project is to analyze the emergence of feminist themes in women artists’ work, beginning in the 1950s and continuing to the present day. The thesis to be addressed in the project is that women artists, though always present and influential in the visual arts, began as of the 1950s to incorporate into their work a number of feminist themes designed to challenge patriarchal stereotypes of women’s role, women’s place, and women’s artistic expression. Despite numerous well-documented obstacles to women’s artistic advancement and recognition, a group of innovative modern and pos
Text of the Paper:
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Janine Antoni The final artist to be addressed in the research project is Janine Antoni, whose work often undertakes a dramatic, vehement and witty assault on the aesthetic models of the 196 s and 197 s, including the canons of Minimalism (Lajer-Burcharth 129).III. The thesis to be addressed in theproject is that women artists, though always present and influential in thevisual arts, began as of the 195 s to incorporate into their work a numberof feminist themes designed to challenge patriarchal stereotypes of women'srole, women's place, and women's artistic expression. As Rubenstein (128) suggests, Kruger's iconography incorporates new meanings into fairly well-known images, many drawn from advertising, which purport to "reach out" to women buyers and which depict women in traditional ways and roles. Works CitedAdams, Laurie S. "Antoni's Difference." Differences: A Journal of Feminist Cultural Studies, Summer 1998, 1 , pp. In art, more than in literature, survival and challenges to patriarchal stereotypes of women's roles, sexuality, and place have predominated. "Barbara Kruger at the Whitney Museum." Art in America, March 2 1, 89, 128+. A. Thesis and Approach To explore this thesis, a descriptive research effort was undertaken in which four women artists - Judy Chicago, Janine Antoni, Barbara Kruger, and Carrie Mae Weems - and their work is examined in depth. 36 - 39+.Fleming, William. The disparate works of these four women artists, as representatives of a larger body of feminist women in the visual arts, serve to explicate women's responses to the sociological stereotyping of women's place and space (Castro 247). Weems uses audiotapes and photography in combination to chart the ways in which people in general and women in particular configure their lives through stories, demonstrating how stereotypical images can all too easily become part of a woman's self-perception (Fleming 676). Judy Chicago Feminist iconography, as described by Adams (539) with specific reference to the work of Judy Chicago, embodies a challenge to both artistic canons and traditions and the insertion of the artist as a woman into her "production." Equally significant, from the perspective of Castro (246 - 247), much of the art produced by women after 195 tended to focus on several themes, including women's bodies and "self health," sex roles, and survival techniques. Art & Ideas. It will be argued that though Chicago, Weems, Antoni and Kruger work in quite disparate genres and media, each of these woman artists has positioned herself firmly within the context of the sociopolitical issues that have negatively impacted upon women's quest for identity in the twentieth century, particularly in the period following 195 . New York: New York University Press, 199 .Danto, Arthur C. Carrie Mae Weems Carrie Mae Weems, a noted African-American artist, combines her admiration for three generations of African-American documentary photography with an interest in folklore and pop culture. D. A History of Western Art. At least the followingwill be discussed. C. In "Mirror, Mirror," a photograph from her 1987 -988 series titled "Ain't Jokin'," she uses an old fairy tale (i.e., "Sleeping Beauty"), a comic-strip format, and biting satire to make a telling point (Fleming 676). Introduction The purpose of this descriptive research project is to analyze theemergence of feminist themes in women artists' work, beginning in the 195 sand continuing to the present day. New York: McGraw Hill, 1997.Castro, Ginette. In the photograph, a Black woman asks a mirror who is "the fairest of them all," and is informed by the face in the mirror that it is a White woman. "A Woman of Arts & Letters." The Nation, October 2, 2 , 271, pp. Chicago and others, says Castro (249), conceived of the feminist art movement as "an expression of the sense every woman ought to have of her own power, her own beauty and her own past as a woman." B. Conclusion The four artists featured in the research project approach their artfrom different aesthetic and theoretical positions, what they share aswomen and as artists is a determination to employ their talent to explorewoman's identity and her quest for autonomy. Barbara Kruger Barbara Kruger, according to Arthur Danto (36), is a woman artist who challenges social stereotypes, many of which center of women's apparent fixation with shopping and other stereotypical "feminine" pursuits. 129 - 133.Rubenstein, Raphael. American Feminism: A Contemporary History. In order to describe the sociological barriers encountered by these women artists, and their responses to those barriers and their effects, a review of relevant literature and an analysis of artistic products or works will be undertaken. Sociological Obstacles for Modern Women in Western Society: Perspectives of Selected Women ArtistsI. Kruger initially took her own images, but shifted to the use of pre-existing images drawn from, among other sources, mass media. II. Fort Worth, Tx.: Harcourt Brace College Publishers, 1995.Lajer-Burcharth, Ewa. Further, in the work of each of these representative women artists, a feminist iconography can be observed that is inherently challenging to superficially imposed gender stereotypes and attributions (Adams 539). DiscussionThis paper will discuss several feminist artists. Despite numerouswell-documented obstacles to women's artistic advancement and recognition,a group of innovative modern and postmodern women artists have relentlesslypursued personal expressions of their own intimate knowledge of women'slives and of the sociological barriers or obstacles to women's quest foridentity (Castro 246). Working in black and white photographs, Kruger uses relatively banal and anonymous images overlaid with a small number of red banners with ironic commentary that essentially attempts to debunk or satirize the images thus represented.
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