Home  ›  The Wages of !war Activist Historiography and the Feminist Art Movement

The Wages of !war Activist Historiography and the Feminist Art Movement

Written By Saturday, April 30, 2022 Add Comment Edit

Promoting the written report, creation, understanding, and promotion of women's fine art, began in 1970s

The feminist fine art movement in the United States began in the early 1970s and sought to promote the study, cosmos, understanding and promotion of women'southward art. Outset-generation feminist artists include Judy Chicago, Miriam Schapiro, Suzanne Lacy, Judith Bernstein, Sheila de Bretteville, Mary Beth Edelson, Carolee Schneeman, Rachel Rosenthal, and many other women. They were part of the Feminist art movement in the United States in the early 1970s to develop feminist writing and art.[ane] The movement spread quickly through museum protests in both New York (May 1970) and Los Angeles (June 1971), via an early network called W.Eastward.B. (West-Eastward Bag) that disseminated news of feminist art activities from 1971 to 1973 in a nationally circulated newsletter, and at conferences such every bit the W Declension Women's Artists Briefing held at California Institute of the Arts (January 21–23, 1972) and the Briefing of Women in the Visual Arts, at the Corcoran School of Art in Washington, D.C. (April 20–22, 1972).[2]

1970s [edit]

For united states, there weren't women in the galleries and museums, so nosotros formed our own galleries, we curated our own exhibitions, nosotros formed our own publications, nosotros mentored one another, we fifty-fifty formed schools for feminist art. We examined the content of the history of fine art, and we began to brand different kinds of art forms based on our experiences as women. So it was both social and something even beyond; in our case, it came back into our ain studios.[3]

—Joyce Kozloff

The Feminist Art Motion of the 1970s, inside the 2d wave of feminism, "was a major watershed in women's history and the history of art" and "the personal is political" was its slogan.[iv]

Key activities [edit]

Maintenance Art—Proposal for an Exhibition [edit]

In 1969 Mierle Laderman Ukeles wrote a manifesto entitled Maintenance Art—Proposal for an Exhibition, challenging the domestic role of women and proclaiming herself a "maintenance artist". Maintenance, for Ukeles, is the realm of human activities that go on things going, such equally cooking, cleaning and child-rearing and her performances in the 1970s included the cleaning of fine art galleries.[5] Her first functioning chosen Impact Sanitation was from 1979-80.[half-dozen]

Art Workers' Coalition demands equal representation for women [edit]

A demand for equality in representation for female person artists was codification in the Art Workers' Coalition'due south (AWC) Statement of Demands, which was adult in 1969 and published in definitive class in March 1970. The AWC was set upwards to defend the rights of artists and force museums and galleries to reform their practices. While the coalition sprung up as a protestation movement following Greek kinetic sculptor Panagiotis "Takis" Vassilakis'south physical removal of his piece of work Tele-Sculpture(1960) from a 1969 exhibition at the Museum of Modern Art, New York, it speedily issued a broad list of demands to 'fine art museums in full general'.

Alongside calls for gratuitous access, better representation of ethnic minorities, tardily openings and an agreement that galleries would non exhibit an artwork without the creative person'southward consent, the AWC demanded that museums 'encourage female artists to overcome centuries of damage done to the image of the female every bit an artist by establishing equal representation of the sexes in exhibitions, museum purchases and on selection committees'.[seven]

Initial feminist art classes [edit]

The outset women's art grade was taught in the autumn of 1970 at Fresno State College, at present California State University, Fresno, by creative person Judy Chicago. It became the Feminist Art Program, a total 15-unit of measurement program, in the Spring of 1971. This was the first feminist art program in the Us. Xv students studied under Chicago at Fresno Land College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. Together, as the Feminist Art Programme, these women rented and refurbished an off-campus studio at 1275 Maple Artery in downtown Fresno. Hither they collaborated on art, held reading groups, and discussion groups about their life experiences which then influenced their art. Later on, Judy Chicago and Miriam Schapiro reestablished the Feminist Art Program (FAP) at California Establish of the Arts. After Chicago left for Cal Arts, the form at Fresno State Higher was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992.[nb i]

The Fresno Feminist Art Program served as a model for other feminist art efforts, such every bit Womanhouse, a collaborative feminist art exhibition and the outset project produced later on the Feminist Art Plan moved to the California Institute of the Arts in the autumn of 1971. Womanhouse existed in 1972, was organized by Judy Chicago and Miriam Schapiro, and was the first public exhibition of feminist art. Womanhouse, similar the Fresno projection, too developed into a feminist studio space and promoted the concept of collaborative women's art.[8]

The Feminist Studio Workshop was founded in Los Angeles in 1973 by Judy Chicago, Arlene Raven, and Sheila Levrant de Bretteville every bit a two-year feminist art program. Women from the program were instrumental in finding and creating the Woman's Edifice, the first independent center to showcase women'southward art and culture. Galleries existed at that place for the unabridged history of the organisation and that was a major venue for exhibiting feminist art.

Art historian Arlene Raven established the Feminist Art Programme in Los Angeles.[9]

Why Accept There Been No Peachy Women Artists? [edit]

In 1971, the art historian Linda Nochlin published the commodity "Why Have There Been No Great Women Artists?" in Adult female in Sexist Society, which was subsequently reprinted in ArtNews, where she claimed that there were no "great" women artists at that time, nor in history. By omission, this inferred that artists like Georgia O'Keeffe and Mary Cassatt were non considered great. She stated why she felt that there were no great women artists and what organizational and institutional changes needed to have place to create amend opportunities for women.[10]

The author Lucy Lippard and others identified three tasks to further the understanding and promotion of works by women:[11]

  • Find and present current and historic art works by women
  • Develop a more informal language for writing well-nigh art by women
  • Create theories well-nigh the meanings behind women's art and create a history of their works.

Some Living American Women Artists / Terminal Supper [edit]

Mary Beth Edelson'southward Some Living American Women Artists / Terminal Supper (1972) appropriated Leonardo da Vinci's The Last Supper, with the heads of notable women artists collaged over the heads of Christ and his apostles. The artists collaged over the heads of Christ and his apostles in Some Living American Women Artists / Last Supper include Lynda Benglis, Louise Bourgeois, Elaine de Kooning, Helen Frankenthaler, Nancy Graves, Lila Katzen, Lee Krasner, Georgia O'Keeffe, Louise Nevelson, Yoko Ono, 1000. C. Richards, Alma Thomas, and June Wayne.[12] Also, other women artists have their paradigm shown in the border of the piece; in all lxxx-two women artists are function of the whole image.[13] [14] This prototype, addressing the part of religious and art historical iconography in the subordination of women, became "ane of the most iconic images of the feminist art movement."[12] [fifteen]

Approaches [edit]

In California, the approach to amend the opportunities for women artists focused on creating venues, such every bit the Woman's Building and the Feminist Studio Workshop (FSW), located with the Woman'due south Edifice. Gallery spaces, feminist magazine offices, a bookstore, and a cafe were some of the key uses of the Feminist Studio Workshop.[xvi]

Organizations like A.I.R. Gallery and Women Artists in Revolution (WAR) were formed in New York to provide greater opportunity for female person artists and protest for to include works of women artist in art venues that had very few women represented, like Whitney Museum and the Museum of Modern Art. In 1970 there was a 23% increase in the number of women artists, and the previous year there was a ten% increase, due to Whitney Almanac (later Whitney Biennial) protests.[16]

The New York Feminist Fine art Institute opened in June 1979 at 325 Jump Street in the Port Authority Edifice. The founding members and the initial board of directors were Nancy Azara, Miriam Schapiro, Selena Whitefeather, Lucille Lessane, Irene Peslikis and Carol Stronghilos.[17] A board of directorate was established of accomplished artists, educators and professional women.[17] For case, feminist writer and arts editor at Ms. Magazine Harriet Lyons was an adviser from its start.[18]

Iii Weeks in May [edit]

In 1977, Suzanne Lacy and collaborator Leslie Labowitz combined operation art with activism in Three Weeks in May on the steps of Los Angeles Urban center Hall. The functioning, which included a map of rapes in the city, and self-defense classes, highlighted sexual violence against women.[19]

"Art Hysterical Notions of Progress and Civilisation" [edit]

Valerie Jaudon and Joyce Kozloff co-authored the widely anthologized "Fine art Hysterical Notions of Progress and Culture" (1978), in which they explained how they idea sexist and racist assumptions underlaid Western art history discourse. They reasserted the value of ornamentation and aesthetic beauty - qualities assigned to the feminine sphere.[20] [21] [22]

Organizations and efforts [edit]

Year Title Event Comments
1969 Women Artists in Revolution (WAR) Protestation Women Artists in Revolution, initially a group within the Fine art Workers' Coalition, protested the lack of representation of women artists' works in museums in 1969,[23] and operated but for a few years. Its members formed the Women'southward Interart Heart.[24] [nb 2]
1970 Women's Interart Center Founded The Women's Interart Center in New York, founded by 1970 in New York City, is still in operation. The Women Artists in Revolution group evolved into the Women'south Interart Heart, which was a workshop that fostered multidisciplinary approaches, an alternative space and customs center - the kickoff of its kind in New York.[25]
1970 Advertizement Hoc Women Artists' Commission Founded The Advertisement Hoc Women Artists' Committee (AWC) formed[nb 3] to address the Whitney Museum'south exclusion of women artists but expanded its focus over fourth dimension. Committee members included Lucy Lippard, Faith Ringgold and others.[25] The Women's Art Registry was created in 1970 to provide information nigh artists and their works and "counter curatorial bias and ignorance." It was maintained in several locations later on the group disbanded in 1971. The registry, a model for other resource initiatives, is at present maintained at Rutgers University's Mabel Smith Douglass Library.[26]
1971 Los Angeles Council of Women Artists Protest In response to the 1971 Art and Engineering science exhibition at the Los Angeles Canton Museum of Art (LACMA), an ad hoc group of women organized, calling themselves the Los Angeles Quango of Women Artists. They researched the number of women included in exhibitions at LACMA and issued a June 15, 1971 report, in which they protested sexual inequality in the artworld and that lack of art works from women at the museum'southward "Art and Technology" exhibition.[27] [28] They set a precedent for the Guerrilla Girls and other feminist groups.[28]
1971[29] Where We At (WWA)[30] Founded Women artists of colour too began organizing, founding groups such as the African American grouping Where We At (WWA) and the Chicana group Las Mujeres Muralistas in order to gain visibility for artists who had been excluded or marginalized on the basis of both their sexual practice and racial or indigenous identity.[xxx] [31]
1972 A.I.R. Gallery Founded A commonage gallery formed in New York and remains in operation.[23] [nb 4] [32]
1972 Women'south Caucus for Art Founded Women's Caucus for Art, an offshoot of the College Art Association was founded in 1972 at the San Francisco Conference. A WCA conference is held annually and in that location are capacity in near areas of the U.Due south.[33]
1972[34] Women'southward Video Festival Held festivals The Women'due south Video Festival was held yearly for a number of years in New York City.[35] Many women artists go along to organize working groups, collectives, and nonprofit galleries in diverse locales around the earth.[ citation needed ]
1973 Washington Women'due south Arts Center Founded Washington, DC, an artist-run inter-arts eye opened with exhibits, writing workshops, a newsletter and quarterly literary journal Womansphere, too as business workshops, lectures including Kathryn Anne Porter's final public lecture. The center operated through 1991. Founders included artists Barbara Frank, Janis Goodman, Kathryn Butler, and Sarah Hyde, writer Ann Slayton Leffler and fine art historian Josephine Withers.
1973 The Adult female'due south Building Founded Los Angeles, CA was the starting time independent center for women's culture. It included the Feminist Studio Workshop was founded past Sheila Levrant de Bretteville, art historian Arlene Raven, and Judy Chicago in 1973.[8] [36] [nb 5] It closed in 1991.
1973 Womanspace Founded Womanspace was an artist‐run gallery opened to the public on January 27, 1973, in a converted laundromat in Los Angeles. It resulted from the free energy and ideas made tangible past the work of the Los Angeles Council of Women Artists, Womanhouse, the West Coast Women Artists conference, and other feminist deportment happening throughout the city. According to the first issue of Womanspace Journal (February/March 1973), the founders included Lucy Adelman, Miki Benoff, Sherry Brody, Carole Caroompas, Judy Chicago, Max Cole, Judith Fried, Gretchen Glicksman (managing director of Womanspace), Elyse Grinstein, Linda Levi, Joan Logue, Mildred Monteverdi, Beverly O'Neill, Fran Raboff, Rachel Rosenthal, Betye Saar, Miriam Schapiro, Wanda Westcoast, Faith Wilding, and Connie Zehr. Womanspace moved to the Woman'south Building later in 1973, and closed in 1974.[37]
1973 Artemisia Gallery Founded A collective gallery formed in Chicago.[23] [38] [nb four]
1973[39] Las Mujeres Muralistas[xxx] Founded Women artists of color also began organizing, founding groups such every bit the African American group Where We At (WWA) and the Chicana group Las Mujeres Muralistas in lodge to proceeds visibility for artists who had been excluded or marginalized on the basis of both their sex and racial or ethnic identity.[thirty] [31]
1973 Women's Art Registry of Minnesota Founded WARM started every bit a women's fine art collective in 1973 and ran the WARM Gallery in Minneapolis from 1976 to 1991.[40]
1974 Women'southward Studio Workshop Founded Women's Studio Workshop (WSW) was founded in 1974 by Ann Kalmbach, Tatana Kellner, Anita Wetzel, and Barbara Leoff Burge as an alternative space for women artists to create new piece of work, gain artistic feel, and develop new skills. To this day, WSW notwithstanding operates artist residencies and internships for women-identified artists, in addition to public arts projects, educational programming for emerging and established artists, and much more than.
1975 Spiderwoman Theater Founded The theater was created to tell stories from an urban perspective. It is named later the Hopi goddess of creation whose objective is to "assist humans in maintaining rest in all things."[41]
1979 New York Feminist Art Institute Founded Founding members: Nancy Azara, Lucille Lessane, Miriam Schapiro, Irene Peslikis[42]
1985 The Woman'south Salon for Literature in New York Founded Founded past Gloria Feman Orenstein.[43] it lasted for more than x years and hosted such important artists as Judy Chicago and Kate Millett.

Publications [edit]

The Feminist Fine art Journal was a feminist art publication that was produced from 1972 to 1977, and was the first stable, widely read journal of its kind. Starting time in 1975 there were scholarly publications about feminism, feminist art and historic women'south art, most notably Through the Flower: My Struggle as a Woman Artist by Judy Chicago; and Against Our Volition: Men, Women and Rape (1975) by Susan Brownmiller; Woman Artists: 1550-1950 (1976) about Linda Nochlin and Ann Sutherland Harris'due south exhibition; From the Middle: Feminist Essays in Women's Fine art (1976) by Lucy Lippard; Of Woman Born, by Adrienne Rich, When God Was a Adult female (1976) by Merlin Stone; By Our Own Hands (1978) by Organized religion Wilding; Gyn/Ecology (1978) by Mary Daly; and Woman and Nature past Susan Griffin.[44]

In 1977, both Chrysalis and Heresies: A Feminist Publication on Fine art and Politics began publication.[44] [45] [nb 6]

1980s [edit]

Feminist art evolved during the 1980s, with a trend abroad from experiential works and social causes. Instead, there was a trend toward works based upon Postmodern theory and influenced by psychoanalysis. Inequal representation in the art world was a continuing issue.[16] Co-ordinate to Judy Chicago in a 1981 interview,[46]

Equally we know, by and large women'southward life experience has not been represented. Information technology has been men's life feel that has made up the body of fine art history. At least, as we know information technology at present; and at that place are all these categories and words that diminish women'due south expression. And then that if it's done by a man, it's "high art"; if it'southward done by a woman, information technology'due south "decorative". If it'southward washed by a man, it's "fine art"; if it's done by a woman, information technology's "political". There's all these words, you know? For example, images by men, of women are "art"; images by women of men are "political". Abstract patterns by men are "art"; abstract patterns by women in material are "decorative"; they're called quilts. So there's all these kind of double standards and all these kind of words that prevent women's experience from entering—even when they limited information technology—from entering the mainstream of art.

Cardinal activities [edit]

Guerrilla Girls [edit]

Guerrilla Girls was formed by 7 women artists in the bound of 1985 in response to the Museum of Modern Art'south exhibition "An International Survey of Recent Painting and Sculpture", which opened in 1984. The exhibition was the inaugural bear witness in the MoMA's newly renovated and expanded edifice, and was planned to exist a survey of the most of import contemporary artists.[47]

The Guerrilla Girls accept researched sexism and created artworks at the asking of diverse people and institutions, among others, the Istanbul Modern, Istanbul, Witte de With Centre for Contemporary Arts, Rotterdam and Fundación Bilbao Arte Fundazioa, Bilbao. They take also partnered with Amnesty International, contributing pieces to a bear witness nether the system's "Protect the Human" initiative.[48]

Mass communication [edit]

Mass communication is "the procedure past which a person, group of people, or large organization creates a message and transmits it through some type of medium to a large, bearding, heterogeneous audience."[49] Women such as Barbara Kruger and Jenny Holzer used forms of graphic mass advice such every bit refined slogans and graphics to increase awareness of the inequity faced by women artists.[sixteen]

Kiki Smith

During the 1970s Kiki Smith was one of the many artists involved in the collaborative projects. As the art scene became more politicized in the 1980s, Kiki Smith's fine art piece of work also became more political equally well. Her piece of work started "involving issues like abortion, race and AIDS."[fifty] When asked if she considered herself a feminist artist, Smith responded:

Yes, I would say that generationally I am, and I would say that without the feminist motility I wouldn't exist; and an enormous amount of the artwork that we take for granted wouldn't exist; and a lot of the subject matter that nosotros assume can exist encompassed by art wouldn't exist. The feminist motility exponentially expanded what art is, and how nosotros wait at fine art, and who is considered to be included in the discourse of fine art-making. I think that information technology caused a tremendous, radical change. You don't desire to accept a cultural notion that ane specific gender embodies creativity. All humanity – and all aspects of gender and sexuality and how people define themselves – are inherently creative. It'south against the interests of the culture at big non to embrace feminism as a model, just like many other models of liberation, because they don't just liberate women, they liberate everybody.[51]

Sister Serpents [edit]

Sister Serpents was a radical feminist art collective that began equally a small group women in Chicago in the summertime of 1989, every bit a directly response to the Webster v. Reproductive Health Services Supreme Court determination.[52] Their goal as a collective was to empower women and to increase awareness of women's issues through radical art,[53] and to employ art as a weapon to battle misogyny.[54]

Publications [edit]

  • Feminist Art Journal
  • Genders: Feminist Art and (Post)Modern Anxieties [55]
  • Grand/E/A/N/I/N/G had xx issues (1986-1996)[56] and 5 on-line problems (2002-2011)[57]
  • Adult female'southward Art Journal (1980–present)[58]
  • Heresies [59]
  • LTTR [60]
  • Meridians [61]
  • The Journal of Women and Operation [62]

1990s [edit]

Key activities [edit]

Bad Girls [edit]

Bad Girls (Part I) and Bad Girls (Part II) were a 1994 pair of exhibitions at New Museum in New York, curated by Marcia Tucker. A companion exhibition, Bad Girls West was curated by Marcia Tanner and exhibited at UCLA's Wright Gallery the same twelvemonth.[63] [64] [65]

Sexual Politics: Judy Chicago'south The Dinner Political party in Feminist Art History [edit]

Sexual Politics: Judy Chicago'southward The Dinner Party in Feminist Art History, a 1996 exhibition and text curated and written by Amelia Jones, re-exhibited Judy Chicago's The Dinner Party for the starting time time since 1988. It was presented by the UCLA Armand Hammer Museum.[66]

Riot Grrrl

The Anarchism grrrl move was focused more often than not on music, but the DIY attribute of this scene included feminist knowledge in forms of hole-and-corner zines, which included poems, articles, comics, etc.

Publications [edit]

  • n.paradoxa (1998–present)[67]

2000s [edit]

Key activities [edit]

WACK! Art and the Feminist Revolution [edit]

The 2007 exhibition, WACK! Art and the Feminist Revolution, focused on the feminist art movement. It was organized by the Museum of Contemporary Art, Los Angeles and traveled to PS1 Contemporary Art Eye in New York. WACK! featured past 120 artists from 21 countries, roofing the menstruation of 1965-1980.[68]

A Studio of Their Ain [edit]

A Studio of Their Own: The Legacy of the Fresno Feminist Experiment was performed on the California State University, Fresno campus at the Phebe Conley Art Gallery in 2009. It was a retrospective that paid homage to the women from the 1970s who were part of the showtime women's art program.[69]

The Feminist Fine art Project [edit]

The Feminist Art Project website and data portal was founded at Rutgers University in 2006. A resources for artists and scholars in the U.s., it publishes a calendar of events and runs conferences, discussions and teaching projects. It describes itself equally "a strategic intervention against the ongoing erasure of women from the cultural record".[70]

Feminist art curatorial practices [edit]

History [edit]

Feminist art curating practices are inside a museumism genre, which is a deconstructing of the museum space by curator/artist where the museum looks at itself or the creative person/curator looks at the museum.

"If artists as curators of their own exhibition is no longer uncommon, neither is the creative person-created museum or collection ... These artists use museological practices to confront the ways in which museums rewrite history through the politics of collecting and presentation ... Still, their work often inadvertently reasserts the validity of the museum" (Corrin, 1994, p. 5).[71] [72]

Katy Deepwell documents feminist curating do and feminist fine art history with a theoretical foundation that feminist curating is non biologically determinate.[73]

Characteristics [edit]

Feminist art curatorial practices are collaborative and reject the notion of an creative person as an private creative genius.[74] [75] [76]

Examples [edit]

  • The Out of Hither exhibition[77] is an case of feminist art curatorial practice.
  • Womanhouse
  • Teatro Chicana: A Commonage Memoir and Selected Plays highlights El Movimiento and Chicana women's ceremonious rights movements representing their varied communities and histories.[78]

2010s [edit]

Cardinal activities [edit]

!Women Art Revolution

The documentary film !Women Art Revolution was played at New York'southward IFC Center first June 1, 2011, before opening around the land.[79] [lxxx]

Woman's Building

The Los Angeles Woman'south Building was the subject of a major exhibition in 2012 at the Ben Maltz Gallery at Otis College of Art and Design chosen Doin' It in Public, Feminism and Fine art at the Woman'south Edifice. It included oral histories on video, emphemera, and artists' projects. It was function of the Getty initiative Pacific Standard Time.

Stop Telling Women To Smile

Stop Telling Women To Smile was an ongoing, traveling series that started in Fall of 2012. Creative person Tatyana Fazlalizadeh, started this projection in Brooklyn, NYC, but had also been in Chicago, Paris, and United mexican states City. Street art such every bit STWTS is a modern way of mass communication fine art.

"Gallery Tally"

In 2013, Michol Hebron started the "Gallery Tally" project, where Hebron had dissimilar galleries beyond Los Angeles and New York make posters showing the uneven representation in the art world. She found that about 70% of artists represented in these 2 cities are men.[81] Hebron has extended this projection outside of L.A., and at present continues the project all over u.s., with updates to her blog.In 2015, Hebron went through every comprehend published from Artforum. Since 1962, there take been 526 different monthly covers. Hebron found simply 18% characteristic art by women, and male person artists fabricated 74% of the covers.[81]

"Guarded"

"Guarded" was a photography project by creative person Taylor Yocom in 2015 for which Yocom photographed students from University of Iowa, showing what these women carried with them when they had to walk solitary at night.[82]

At present Be Hither

Now Exist Here was a project from August 28, 2016, where 733 female and female identifying women came together in Los Angeles to be photographed together to testify solidarity.[83] The project continued with At present Be Hither #ii at the Brooklyn Museum on October 23, 2016,[84] and At present Exist Here #iii at the Pérez Art Museum Miami (PAMM) on December x, 2016.[85]

The Time to come is Female

The Future is Female art exhibit located within the 21C Museum and Hotel in Louisville, Kentucky opened its doors just following our near recent presidential ballot and features feminist art works that operate to epitomize the feel of womanhood while simultaneously addressing larger global problems. The exhibit highlights the artwork of handful of feminist artists including Vibha Galhotra, Alison Saar, Carrie Mae Weems, Michele Pred, Frances Goodman, Kiki Smith, and Sanell Aggenbach who emerged in the wake of the 2d moving ridge Feminist Arts Motility.[86]

Women's Invitational Exhibition 2017

The Women's Invitational Exhibition is an fine art exhibit that features the works from minority women artists. The entire gallery showcases only a select few artists. Nevertheless, each private woman shows multitude of different topics via a multifariousness of mediums.[87]

Hands On

HANDS ON is collection of works by Karen Lederer fabricated in 2017. Works within the collection date from 2015 to 2017. The art was made in response to political debates about women.

[88]

Faith Wilding: Fearful Symmetries

In 2018, Carnegie Mellon University hosted a retrospective of Faith Wilding's artwork,[89] which became a traveling exhibit.[90]

Run across likewise [edit]

  • Feminist art criticism
  • Feminist fine art move
  • Feminist pornography
  • Feminist Porn Honour
  • Feminism in the United States
  • Gender equality
  • Go Topless Twenty-four hours
  • Pattern and Ornamentation art movement, related to feminist art motion
  • Sex-positive feminism
  • Where Nosotros At Black Women Artists (WWA)

Notes [edit]

  1. ^ Aiken opened the all-women'southward co-op Gallery 25 with her students, developed the Fresno Art Museum's Council of 100 and the Distinguished Women Creative person Series, which helped develop programming and exhibitions about women at the museum.[8]
  2. ^ Women Artists in Revolution (War) formed to accost the under representation of women artist's work in museums. In 1969 the published a list of demands, including "Museums should encourage female artists to overcome the centuries of damage done to the prototype of the female as an artist by establishing equal representation of the sexes in shows, museum purchases, and on selection committees."[24]
  3. ^ Lippard said that the group was founded in 1971.[23]
  4. ^ a b Commonage galleries such equally A.I.R. Gallery in New York (1972–nowadays) and Artemesia in Chicago were formed to provide visibility for art by feminist artists. The strength of the feminist motion immune for the emergence and visibility of many new types of work by women but also helped facilitate a range of new practices by men.[23]
  5. ^ Many of the feminist artists and designers from CalArts joined other feminist artists at the Woman's Building, an important center of the due west coast feminist creative person motility in the 1970s and 1980s in which meetings, workshops, performances, and exhibitions regularly took place. Womanspace Gallery relocated in that location. During the first twelvemonth, in that location were national conferences on feminist motion picture, writing, ceramics, among others.[ citation needed ]
  6. ^ Chrysalis Mag (1977–80), was organized out of the Los Angeles Woman'southward Building.[ commendation needed ]

References [edit]

  1. ^ Thomas Patin & Jennifer McLerran (1997). Artwords: A Glossary of Contemporary Art Theory. Westport, CT: Greenwood. p. 55. Archived from the original on 2020-09-27.
  2. ^ Moravec, Michelle (2012). "Toward a history of feminism, art, and social movements in the United States". Frontiers: A Journal of Women Studies. 33 (two): 22–54. doi:10.5250/fronjwomestud.33.2.0022. S2CID 141537252.
  3. ^ "Where Fine Fine art Meets Arts and crafts: The Accessible Works of Joyce Kozloff". American Association of University Women. August 28, 2013.
  4. ^ Norma Broude; Mary D. Garrard (1996). The Power of Feminist Fine art: The American Move of the 1970s, History and Affect. New York: Harry Northward. Abrams, Inc. pp. 88–103. ISBN9780810926592 . Retrieved 11 Oct 2013.
  5. ^ Jon Bird, Michael Newman, Rewriting Conceptual Art, Reaktion Books, 1999, p114-5. ISBN 1-86189-052-four
  6. ^ "Mierle Laderman Ukeles "Maintenance Art" at Queens Museum, New York •Mousse Magazine". moussemagazine.it (in Italian). 2017-02-08. Retrieved 2018-11-19 .
  7. ^ Harrison, Charles (2000). Art in theory (Repr. ed.). Oxford [u.a.]: Blackwell. pp. 901–2. ISBN978-0-631-16575-0.
  8. ^ a b c Dr. Laura Meyer; Nancy Youdelman. "A Studio of Their Own: The Legacy of the Fresno Feminist Fine art Experiment". A Studio of their Own . Retrieved 8 January 2011.
  9. ^ Arlene Raven (1991). "The Last Essay on Feminist Criticism". In Arlene Raven; Cassandra L. Langer; Joanna Frueh (eds.). Feminist Fine art Criticism: An Anthology. New York: Icon Editions. pp. 229–230. [ dead link ]
  10. ^ Arlene Raven (1991). "The Last Essay on Feminist Criticism". In Arlene Raven; Cassandra L. Langer; Joanna Frueh (eds.). Feminist Art Criticism: An Album. New York: Icon Editions. pp. 41–42. [ dead link ]
  11. ^ Arlene Raven (1991). "The Concluding Essay on Feminist Criticism". In Arlene Raven; Cassandra L. Langer; Joanna Frueh (eds.). Feminist Art Criticism: An Anthology. New York: Icon Editions. p. 100. [ expressionless link ]
  12. ^ a b "Mary Beth Edelson". The Frost Fine art Museum Drawing Projection . Retrieved 11 January 2014.
  13. ^ "Mary Beth Edelson. Some Living American Women Artists. 1972". MoMA. Retrieved 2019-12-04 .
  14. ^ Gail Levin (16 October 2018). Becoming Judy Chicago: A Biography of the Artist. Univ of California Printing. pp. 209–. ISBN978-0-520-30006-4.
  15. ^ "Mary Beth Adelson". Clara - Database of Women Artists. Washington, D.C.: National Museum of Women in the Arts. Archived from the original on January 10, 2014. Retrieved ten January 2014.
  16. ^ a b c d "Feminist art motility". The Art Story Foundation. Retrieved thirteen January 2014.
  17. ^ a b Fernanda Perrone, Amy Dawson, and Caroline T. Caviness. Inventory to the Records of the New York Feminist Art Plant, 1976-1990. Authoritative History. Rutgers. July 2009. Retrieved Jan 15, 2014.
  18. ^ Barbara J. Honey. Feminists who Inverse America, 1963-1975. Academy of Illinois Press; 2006. ISBN 978-0-252-03189-2.
  19. ^ Karen Rosenberg (March 28, 2008). "Turning Stereotypes Into Artistic Strengths". New York Times.
  20. ^ Jaudon, Valerie (Winter 1977–1978), "Fine art Hysterical Notions of Progress and Civilization." (PDF), Heresies #four , retrieved 2012-09-12
  21. ^ "Valerie Jaudon and Joyce Kozloff, 'Art Hysterical Notions of Progress and Culture' (1978)*". Dead Revolutionaries Club. Archived from the original on 2014-05-17. Retrieved 2014-06-16 .
  22. ^ Stiles, Kristine and Peter Selz (1996). Theories and Document of Contemporary Art: A Sourcebook of Artists' Writings. Berkeley and Los Angeles California: University of California Printing. ISBN 0-520-20251-1. pp. 154–155
  23. ^ a b c d eastward Lippard, Lucy R. From the Center: Feminist Essays on Women'south Art. New York: Dutton, 1976. p. 42
  24. ^ a b
  25. ^ a b
  26. ^
  27. ^ Female Artists, Past and Nowadays. Women'due south History Research Center. 1974. p. eleven.
  28. ^ a b "Los Angeles Council of Women Artists Study". Getty Center. June 15, 1971. Retrieved 12 January 2014.
  29. ^ "Abundant Testify: Black Women Artists of the 1960s and 1970s" (PDF). Amherst College. Retrieved 12 January 2014.
  30. ^ a b c d Mark, Lisa Gabrielle (2008). WACK! Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art Los Angeles.
  31. ^ a b Burgess Fuller, Diana (2002). Art/Women/California. Berkeley: University of California Printing.
  32. ^ Meredith A.Brown 'The Remainder Sheet: A.I.R. Gallery and Regime Funding' northward.paradoxa: international feminist art journal vol. 27 (Jan 2011) pp.29-37
  33. ^ "40th Anniversary Celebration" (PDF). National Women'southward Caucus for Fine art. 2012. p. ii. Retrieved 12 January 2014.
  34. ^ Alexandra Juhasz (2001). Women of Vision: Histories in Feminist Pic and Video. University of Minnesota Press. pp. 15–16. ISBN978-0-8166-3371-v.
  35. ^ John D. H. Downing; John Derek Hall Downing (2011). Encyclopedia of Social Movement Media. SAGE Publications. p. 198. ISBN978-0-7619-2688-seven.
  36. ^ Lippard, Lucy R. From the Center: Feminist Essays on Women's Art. New York: Dutton, 1976. p. 84
  37. ^ "Checklist of the WB Exhibition" (PDF). Otis College of Art and Design. 2012.
  38. ^ Nancy A. Naples; Karen Bojar (two December 2013). Teaching Feminist Activism: Strategies from the Field. Routledge. p. 99. ISBN978-1-317-79499-eight.
  39. ^ Karen Mary Davalos (2001). Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora. UNM Press. p. 63. ISBN978-0-8263-1900-v.
  40. ^ Gardner-Huggett, Joanna (2008). "Review: WARM: A Feminist Art Collective in Minnesota by Joanna Inglot". Woman'due south Art Journal. 29 (1): 64–66. JSTOR 20358154.
  41. ^ Janet McAdams; Geary Hobson; Kathryn Walkiewicz (9 October 2012). The People Who Stayed: Southeastern Indian Writing Afterwards Removal. University of Oklahoma Press. p. 47. ISBN978-0-8061-8575-0.
  42. ^ Katie Cercone 'The New York Feminist Art Institute' n.paradoxa: international feminist art journal vol. 22 (July 2008) pp.49-56 New York Feminist Art Institute
  43. ^ "GLORIA ORENSTEIN - Professor of Comparative Literature and Gender Studies, FOUNDER OF THE Adult female'S SALON FOR LITERATURE". Veteran Feminists of America. Veteran Feminists of America. Retrieved 27 February 2018.
  44. ^ a b Moira Roth (1991). "Visions and Re-Visions: Rosa Luxemburg and the Artist's Mother". In Arlene Raven; Cassandra L. Langer; Joanna Frueh (eds.). Feminist Art Criticism: An Album. New York: Icon Editions. p. 109. [ dead link ]
  45. ^ Heresies: A Feminist Publication on Art and Politics(1977–92), now the subject of a documentary moving-picture show, The Heretics.
  46. ^ Chicago, Judy (1981). "Interview with Judy Chicago" (Interview). Interviewed past Stubbs, Ann. New York: WBAI.
  47. ^ Brenson, Michael (April 21, 1984). "A Living Artists Show at the Modern Museum". The New York Times . Retrieved 27 February 2013.
  48. ^ "Press Releases | Amnesty International UK". Amnesty.org.uk. Retrieved 2015-03-x .
  49. ^ Pearce, K.J. (2009). Media and Mass Communication Theories. SAGE Publications. pp. 624–628.
  50. ^ Kimmelman, Michael (1992-08-16). "Art VIEW; Kiki Smith: The Body equally Political Battleground". The New York Times.
  51. ^ ""Without the feminist move I wouldn't be." – Robert Ayers in conversation with Kiki Smith. « A Sky filled with Shooting Stars".
  52. ^ Margolin, Victor (1992). "SisterSerpents: A Radical Feminist Art Collective". AIGA Journal of Graphic Design. Vol. ten, no. 2.
  53. ^ George, Erika (March 12, 1991). "Hissing with acrimony: SisterSerpents showroom fine art". The Chicago Maroon.
  54. ^ Bradley, Amanda (February 26, 1991). "Serpentine artists hiss at misogyny". The Daily Northwestern.
  55. ^ "Genders: Feminist Art and (Post)Modern Anxieties". Genders.org. Archived from the original on 2013-05-12. Retrieved 2014-01-12 .
  56. ^ "Grand/E/A/Northward/I/Due north/G, 1986-1996 (ed. Susan Bee and Mira Schor) | Jacket2". jacket2.org . Retrieved 2016-03-05 .
  57. ^ "M/E/A/N/I/N/K, ed. Susan Bee and Mira Schor". Writing.upenn.edu. Retrieved 2014-01-12 .
  58. ^ "Woman'southward Fine art Journal". Womansartjournal.org. Retrieved 2014-01-12 .
  59. ^ "THE HERETICS : Directed by Joan Braderman, Produced by Crescent Diamond". Heresiesfilmproject.org. Retrieved 2015-03-x .
  60. ^ "LTTR". LTTR. Retrieved 2015-03-10 .
  61. ^ "Meridians: feminism, race, transnationalism". Smith.edu. Retrieved 2015-03-10 .
  62. ^ "Bug | Women & Performance". Womenandperformance.org. Archived from the original on 2015-02-25. Retrieved 2015-03-x .
  63. ^ "Bad Girls (Role I)". The New Museum Digital Annal. The New Museum. Retrieved 21 September 2016.
  64. ^ Smith, Roberta (January 21, 1994). "Review/Art; A Raucous Caucus Of Feminists Being Bad". New York Times . Retrieved 21 September 2016.
  65. ^ Knight, Christopher (Feb 8, 1994). "ART REVIEW : 'Bad Girls': Feminism on Wry : Tone Bemusedly Subversive in Due west Declension Edition of North.Y. Show". Los Angeles Times . Retrieved 21 September 2016.
  66. ^ Reilly, Maura. "The Dinner Political party: Bout and Habitation". Brooklyn Museum . Retrieved 21 September 2016.
  67. ^ "Official home page for northward.paradoxa: international feminist art journal; feminist art; gimmicky women artists; feminist art theory; feminist artists; writing about women artists; KT press". Due north. Paradoxa. Ktpress.co.britain. ISSN 1461-0434. Retrieved 2015-03-10 .
  68. ^ "WACK!: Art and the Feminist Revolution". MOCA . Retrieved 21 September 2016.
  69. ^ "Feminist art retrospective opens Aug. 26". August 11, 2009. Archived from the original on 13 January 2014. Retrieved thirteen January 2014.
  70. ^ The Feminist Art Project. Rutgers University. Retrieved Feb 4, 2014.
  71. ^ CORRIN, L. Thousand. (1993). Mining the museum: An installation confronting history. Curator: The Museum Journal, 36(4), 302-313. doi:10.1111/j.2151-6952.1993.tb00804.x
  72. ^ Klebesadel, Helen (2005). Reframing studio art production and critique. In Janet Marstine (Ed.), New museum theory and practice an introduction (pp. 247-265). Malden, MA: Wiley-Blackwell.
  73. ^ Deepwell, Katy (2005). Feminist curatorial strategies and practices since the 1970s. In Janet Marstine (Ed.), New museum theory and practise an introduction (pp. 64-84). Malden, MA: Wiley-Blackwell.
  74. ^ Parker, R., & Pollock, Thou. (1981). One-time mistresses: Women, art and ideology. New York: Pantheon Books.
  75. ^ Curatorial Collectives and Feminist Politics in 21st Century Europe: An Interview with Kuratorisk Aktion
  76. ^ Hedlin Hayden, Malin & Sjoholm Skrubbe, Jessica (Eds.). (2010). Feminisms is nonetheless our name: Seven essays on historiography and curatorial practices. Cambridge: Cambridge Scholars Publishing.
  77. ^ Out of Here. Judy Chicago site. Retrieved March 7, 2015.
  78. ^ Garcia, L. Eastward., Gutierrez, S. M., & Nuñez, F. (2008). Teatro chicana: A collective memoir and selected plays. Austin: Academy of Texas Press.
  79. ^ Yerman, Marcia One thousand. (March 14, 2011). "!Women Art Revolution at MoMA". Huffington Mail service. Retrieved Nov vii, 2011.
  80. ^ Voynar, Kim (June 1, 2011). "Review: !Women Art Revolution". Movie City News. Retrieved November seven, 2011.
  81. ^ a b "18%: Creative person Micol Hebron tallies the presence of women on Artforum covers".
  82. ^ Vagianos, Alanna (2015-05-06). "These Are the Things Women Acquit to Protect Against Attackers". Huffington Post.
  83. ^ "Now Be Here: Women artists make a stand, and a photo". ART AND Cake. 2016-08-29. Retrieved 2016-09-26 .
  84. ^ "600 Female Artists Took this Selfie at the Brooklyn Museum | artnet News". artnet News. 2016-10-26. Retrieved 2017-02-23 .
  85. ^ "Now Exist Hither #3 gathers Miami female artists at Perez Fine art Museum". Miami Girls Foundation. 2016-12-26. Retrieved 2017-02-23 .
  86. ^ "The Future Is (Still) Female: Feminist Art for the 21st Century". Hyperallergic. 2017-05-27. Retrieved 2018-04-13 .
  87. ^ "Women's Invitational Exhibition 2017 | Islamic Art Revival Series". islamicartrevival.com . Retrieved 2018-04-xiii .
  88. ^ "Show #twoscore Karen Lederer". Field Projects . Retrieved 2018-04-13 .
  89. ^ O'Driscoll, Nib (February 7, 2018). "Organized religion Wilding: Fearful Symmetries at the Miller Gallery". Pittsburgh City Paper . Retrieved 2021-02-05 . {{cite web}}: CS1 maint: url-status (link)
  90. ^ Sauceda, Crystal (September 12, 2016). "UHCL displays its commencement nationally touring exhibition, Faith Wilding: Fearful Symmetries". UHCL The Signal . Retrieved 2021-02-05 . {{cite spider web}}: CS1 maint: url-status (link)

Farther reading [edit]

  • Armstrong, Ballad and Catherine de Zegher (eds.), Women Artists at the Millennium, The MIT Press, Cambridge, 2006.
  • Bee, Susan and Mira Schor (eds.), The M/E/A/N/I/N/G Book, Duke University Press, Durham, NC, 2000.
  • Bloom, Lisa Jewish Identities in American Feminist Art: Ghosts of Ethnicity London & New York: Routledge, 2006.
  • Brownish, Betty Ann, ed. Expanding Circles: Women, Fine art & Community. New York: Midmarch, 1996.
  • Broude, Norma and Mary Garrard The Power of Feminist Art: Emergence, Impact and Triumph of the American Feminist Art Motion New York, Abrams, 1994.
  • Butler, Connie. WACK! Fine art and the Feminist Revolution, Los Angeles: Museum of Gimmicky Art. 2007.
  • Chicago, Judy. Beyond the Flower: The Autobiography of a Feminist Artist. New York: Viking, 1996.
  • Chicago, Judy. The Dinner Party: A Symbol of Our Heritage. Garden Metropolis, N.Y.: Anchor Printing/Doubleday, 1979.
  • Chicago, Judy. Embroidering Our Heritage: The Dinner Party. Garden City, N.Y.: Anchor Printing/Doubleday, 1979.
  • Cottingham, Laura. How Many 'Bad' Feminists Does It Take to Alter a Light Bulb? New York: Sixty Percent Solution. 1994.
  • Cottingham, Laura. Seeing Through the Seventies: Essays on Feminism and Fine art. Amsterdam, The Netherlands: G+B Arts, 2000.
  • Farris, Phoebe (ed) Women Artists of Colour: A bio-disquisitional Sourcebook to 20th Century Artists in the Americas Westport, Connecticut: Greenwood Press, 1990.
  • Frostig, Karen and Kathy A. Halainka eds. Blaze: Discourse on Art, Women and Feminism USA, Cambridge Scholar, 2007.
  • Hammond, Harmony Lesbian Art in America: A Contemporary History New York: Rizzoli International Publications Inc, 2000.
  • Frueh, Joanna, Cassandra Fifty. Langer, and Arlene Raven, eds. New Feminist Criticism: Art, Identity, Action, 1993.
  • Hess, Thomas B. and Elizabeth C. Baker, eds. Art and Sexual Politics: Women's Liberation, Women Artists, and Art History. New York, Macmillan, 1973
  • Isaak, Jo Anna . Feminism and Contemporary Art: The Revolutionary Ability of Women's Laughter. New York: Routledge, 1996.
  • King-Hammond, Leslie (ed) Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists New York: Midmarch Printing, 1995.
  • Lippard, Lucy The Pinkish Glass Swan: Selected Feminist Essays on Fine art New York: New Press, 1996.
  • Meyer, Laura, ed. A Studio of Their Own: The Legacy of the Fresno Feminist Experiment. Fresno, Calif.: Press at California State University, Fresno, 2009.
  • Perez, Laura Elisa Chicana art : the politics of spiritual and aesthetic altarities Durham, N.C. : Duke University Press; Chesham: 2007.
  • Phelan, Peggy. Art and Feminism. London: Phaidon, 2001.
  • Raven, Arlene. Crossing Over: Feminism and Fine art of Social Concern. 1988
  • Siegel, Judy Wildcat and the Mainstream: Talk that Changed Art,1975-1990 New York: Midmarch Arts Press, 1992.
  • Schor, Mira. Wet: On Painting, Feminism, and Art Culture. Durham, NC: Knuckles University Press. 1997
  • Wilding. Faith. By Our Own Hands: The Women Artist's Move, Southern California, 1970-1976.

External links [edit]

  • American Feminist Art Timeline

parrywalonly.blogspot.com

Source: https://en.wikipedia.org/wiki/Feminist_art_movement_in_the_United_States

0 Response to "The Wages of !war Activist Historiography and the Feminist Art Movement"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel