No Longer Able to Discuss Female Issues in Feminist Art?
Guerrilla Girls, When Racism & Sexism are No Longer Fashionable, What Will Your Art Collection Be Worth?, 1989, offset lithograph in black on wove paper, Gift of the Gallery Girls in support of the Guerrilla Girls, 2007.101.half-dozen
How is feminism expressed? What forms does feminism take on a personal level (by an individual) or on a larger scale (past a society)?
How does gender inequality intersect with injustices related to race, ethnicity, religion, historic period, or other markers of identity (visible or invisible)?
What tactics accept artists used to face up gender inequality?
The Guerrilla Girls is an activist group formed in 1985 whose members are female artists, curators, and writers. Their work focuses attention on gender and racial discrimination in the art world through demonstrations, performances, and "public service letters."
During the late 1960s and 1970s, women in the Usa mobilized to demand gender equality in their civic, educational, home, and professional person lives. The women'south movement was part of a climate of social activism and questioning inspired by the civil rights movement and, later, by protests against the Vietnam War. The social activism of the period extended to the art world, every bit female artists began to confront and defy long-standing biases and traditional gender roles that had limited their careers.
Women in the art world were galvanized by a now-famous 1971 essay, "Why Have At that place Been No Great Women Artists?" by Linda Nochlin. She argued that the existent upshot was not that in that location were no groovy women artists, just rather that they were historically invisible, unknown, and fewer in number than men considering of systematic obstruction to education, patronage, and opportunities to showroom fine art. Nochlin's essay led to new enquiry resulting in the rediscovery of many long-forgotten women artists, a process that continues to this solar day.
While the 1970s independent many watershed moments in the women's movement, incremental change has occurred over centuries. Research shows that female artists working prior to that time, during the 19th and 20th centuries, pioneered new forms and materials with which to limited their ideas. They created works that gradually broadened the possibilities for art and its audiences, although their achievements sometimes took decades to register with mainstream civilisation. The widespread recognition of the piece of work of female person artists has accelerated as they continue to produce works that complicate and challenge our understandings of gender, identity, empowerment, and expression. From the innovative and powerful abstract paintings of Joan Mitchell and Alma Thomas, such as
Women and Art Samuel Masury, , c. 1865, albumen print (bill of fare-de-visite), National Gallery of Fine art, Washington, Robert B. Menschel and the Vital Projects Fund, 2019.97.2 The American Civil War (1861–1865) was i of the first armed conflicts documented past photography. Soldiers often had portraits made of themselves before they reported for duty. Such images, oft produced in multiples approximately the size of a credit card, were minor, portable, and inexpensive—ideal for sharing with loved ones. This photograph, taken in Samuel Masury's Boston-based studio, is of Frances Clayton, a Minnesotan farmer and newly enlisted soldier; she is photographed in a Union ground forces uniform. Clayton disguised her sexual activity in order to join the regular army, which prohibited women from serving. It is thought that she served in a Missouri regiment alongside her husband, who died in battle. In the United States, women were not permitted to enlist in the military until 1917, during the last years of World War I. What does this image reveal to united states nearly gender in the tardily 19th century? What ideas of gender are debated in the context of the military today?
Women and Fine art Samuel Masury, The American Civil War (1861–1865) was one of the first armed conflicts documented by photography. Soldiers oft had portraits made of themselves before they reported for duty. Such images, often produced in multiples approximately the size of a credit card, were small, portable, and cheap—ideal for sharing with loved ones. This photo, taken in Samuel Masury'southward Boston-based studio, is of Frances Clayton, a Minnesotan farmer and newly enlisted soldier; she is photographed in a female gender-conforming dress. Clayton disguised her sex in lodge to bring together the army, which prohibited women from serving. It is thought that she served in a Missouri regiment aslope her married man, who died in battle. In the United States, women were non permitted to enlist in the military until 1917, during the last years of Globe War I. What does this image reveal to us about gender in the tardily 19th century? What ideas of gender are debated in the context of the armed forces today?
Women and Art Mary Cassatt, In this painting, Mary Cassatt pictures a mother and child in an intimate domestic scene, perhaps in the female parent'south bedchamber. The girl's nudity suggests that she may be fresh from her bath. The mother gently supports the child's shoulder with one mitt, holding up a hand mirror to the child with the other. Notice the multiple reflections produced past the mirrors, and how the artist repeats shapes, forms, and colors in the painting. Y'all may also find the large sunflower pinned to the woman'southward dress, almost at the middle of the painting: information technology is an emblem associated with the American women suffragist move. The sunflower appeared on a suffragist badge advocating for women's correct to vote in the presidential ballot of 1904—about a yr before this painting was made. Mary Cassatt was one of just 3 women (and the only American) to exhibit with the French impressionist painters. This influential art motion developed in Paris in the 1860s; the discussion "impression" described the artists' intention of capturing moments from everyday life. How might the bespeak of view of a female creative person at this time affect her representation of everyday life?
Women and Fine art Anna Hyatt Huntington, Anna Hyatt Huntington is all-time known for statuary statuettes of exotic animals. The New York Zoological Park (at present the Bronx Zoo) provided the creative person with ready models and she challenged herself to capture the animals in motility, expressing their typical behavior, gait, or posture. Creature sculptures became the mainstay of her career, and she sold numerous casts first to individual collectors and somewhen to major museums. Her ambitions grew with her success and she won a committee from New York City for a awe-inspiring equestrian statue of Joan of Arc, a popular symbol of female strength, independence, and suffrage. (The memorial remains on view in Riverside Park today.)
Women and Art Anna Hyatt Huntington, Anna Hyatt Huntington is best known for bronze statuettes of exotic animals. The New York Zoological Park (at present the Bronx Zoo) provided the artist with ready models and she challenged herself to capture the animals in move, expressing their typical behavior, gait, or posture. Animal sculptures became the mainstay of her career, and she sold numerous casts first to individual collectors and eventually to major museums. Her ambitions grew with her success and she won a commission from New York City for a awe-inspiring equestrian statue of Joan of Arc, a popular symbol of female force, independence, and suffrage. (The memorial remains on view in Riverside Park today.)
Women and Art Anna Hyatt Huntington, Anna Hyatt Huntington is best known for bronze statuettes of exotic animals. The New York Zoological Park (now the Bronx Zoo) provided the creative person with ready models and she challenged herself to capture the animals in movement, expressing their typical behavior, gait, or posture. Animal sculptures became the mainstay of her career, and she sold numerous casts beginning to individual collectors and eventually to major museums. Her ambitions grew with her success and she won a commission from New York City for a monumental equestrian statue of Joan of Arc, a popular symbol of female strength, independence, and suffrage. (The memorial remains on view in Riverside Park today.)
Huntington occasionally turned to more than personal projects, as represented past this sensitive and dignified marble bust of her mother, Audella Beebe Hyatt (1840–1932). Audella was as well an artist and encouraged Anna'southward artistic talents. Sculptural busts of elder women are significantly less frequent than those of elder men.
Women and Fine art Cecilia Beaux, Cecilia Beaux pictures her cousin Sarah (identified with the Spanish derivation of her given proper name, Sarita) seated on a sofa with her feline companion, Sita (Spanish for "trivial ane"), in a moment of repose and reflection. You tin can imagine the cat's slight weight on the woman'south shoulder, soft fur brushing her ear, while she absently reaches up to scratch the cat in turn. The agreement between the woman and her pet is underscored by the play of their names equally well as their ii sets of eyes in alignment: the cat looks out at us, while Sarita's gaze is distant. Hair and fur pelt—glossy and dark—also blend together. The portrayal of a relaxed and intimate moment at dwelling suggests a level of trust betwixt the two women, sitter and painter. Beaux was a successful independent portraitist, among the few self-supporting women artists of the early 20th century. She traveled to Europe to pursue creative training, spending fourth dimension in Espana besides as France and England. What words would yous employ to describe the subject of this painting? Would you identify this work as an act of feminism? Why or why non?
Women and Fine art Elizabeth Catlett, Elizabeth Catlett created this commanding prototype of Harriet Tubman (born Araminta Ross, c. 1820–1913), the Underground Railroad conductor and abolitionist, pointing the way to freedom. Discover how the outsize effigy of Tubman dominates the image, and how the bold and energetic blackness lines of the print suggest the perilous, fraught conditions Tubman and those nether her protection navigated. Catlett, who was the granddaughter of people who were enslaved, ofttimes focused on issues of Black and women's history in her art. Her artistic influences included the social activism of Mexican muralists Diego Rivera and José Clemente Orozco, which she learned about equally a student at Howard Academy in Washington, DC. Another teacher, the American painter Grant Wood, encouraged her to depict upon what she knew best. "Of course, it was my ain people," she noted. At the time Catlett fabricated this work, the civil rights move was gaining ground in the The states. Why might Catlett take chosen to depict Harriet Tubman? What exercise Catlett'south artistic choices reveal well-nigh her perception of Tubman?
Women and Art Eileen Knox, This drawing depicts an instance of needlework from the belatedly 19th century. Young women made samplers to practise needle arts and to demonstrate different embroidery stitches. If you enlarge the drawing (which is colored with gouache paint), yous will see that information technology is so fine and realistic that it almost appears to be a photo. The sampler includes a brick business firm, likely the 14-year-old maker's home, and a quote from 18th-century English poet Alexander Pope (with some incomplete letters): "Teach me to experience another's woe / To hide the fault I see / In mercy I to Others show / That Mercy shows to me." This work is part of the Index of American Design (IAD), a body of 18,000 drawings that relate the history of American decorative art, folk art, and craft objects from the 17th century until virtually the turn of the 20th century. The IAD was a project of the Works Progress Administration (WPA), created during the Depression to provide employment to out-of-work people, including artists. There was a higher proportion of women working in the IAD project than in other federal fine art programs at the fourth dimension, mayhap indicating greater opportunity for women illustrators. These jobs were a small portion of the total WPA jobs created, the keen majority of which were bachelor in structure, edifice roads and infrastructure, and largely reserved for men. Are there any activities in your own life that are viewed as belonging to a specific gender? How do you feel about this perception? If women artists were to continue to add piece of work to the IAD today, how might the subject area affair compare to these works of art?
Women and Art Frank Maurer (artist), Thomaszine Downing Woodward (object maker), This drawing depicts an example of needlework from the late 19th century. Young women made samplers to practice needle arts and to demonstrate different embroidery stitches. If you enlarge the cartoon, you will see that information technology is so fine and realistic that it almost appears to be a photograph. The sampler offers the sentiment "What is home without Female parent," signaling traditional ideas of the female parent as the center of the home and of domestic life in full general. This work is part of the Index of American Pattern (IAD), a body of 18,000 drawings that relate the history of American decorative fine art, folk art, and arts and crafts objects from the 17th century until nigh the plough of the 20th century. The IAD was a project of the Works Progress Administration (WPA), created during the Depression to provide employment to out-of-work people, including artists. There was a college proportion of women working in the IAD project than in other federal art programs at the time, possibly indicating greater opportunity for women illustrators. These jobs were a small portion of the total WPA jobs created, the great bulk of which were bachelor in construction, building roads and infrastructure, and largely reserved for men. Are there any activities in your own life that are viewed as belonging to a specific gender? How do you lot experience nearly this perception? If women artists were to continue to add piece of work to the IAD today, how might the discipline thing compare to these works of art?
Women and Art Lena Nastasi (artist), Laura McCall (object maker), This cartoon depicts an example of needlework from the late 19th century. Young women crocheted items that could decorate wearable, tablecloths, and curtains. If you enlarge the drawing, you will see that it is so fine and realistic that it almost appears to be a photo. This piece of work is part of the Index of American Design (IAD), a trunk of 18,000 drawings that chronicle the history of American decorative art, folk art, and arts and crafts objects from the 17th century until nearly the plough of the 20th century. The IAD was a project of the Works Progress Assistants (WPA), created during the Low to provide employment to out-of-work people, including artists. There was a higher proportion of women working in the IAD projection than in other federal art programs at the time, possibly indicating greater opportunity for women illustrators. These jobs were a pocket-sized portion of the full WPA jobs created, the great majority of which were available in construction, building roads and infrastructure, and largely reserved for men. Are at that place any activities in your ain life that are viewed every bit belonging to a specific gender? How do you lot experience about this perception? If women artists were to keep to add work to the IAD today, how might the field of study thing compare to these works of art?
Women and Art Dorothea Lange, Dorothea Lange's photographs of people impacted by the Depression are her most well-known piece of work. She wanted to show the public and politicians the reality and depth of the United states of america' social and economic issues. Working for the Farm Security Administration, an agency created by President Franklin Delano Roosevelt to accost the plight of farmers affected by the dust basin, Lange made many photographs of migrants who traveled to California during the 1930s seeking agricultural work. Notwithstanding work was scarce, and often migrants ended upward unemployed in encampments, some gear up as public relief programs. Here a young mother sits in front of her regime-issued tent with her child at her feet. Her expression communicates a toughness and a kind of resignation. Lange sometimes shared her photographs with newspapers in order to draw the public's attention to people's suffering. On one occasion, the publication of her photographs in the San Francisco News resulted in an outpouring of 20,000 pounds of nutrient donations for malnourished migrant workers. Consider how the female person feel might differ across socioeconomic grade, race, and time. How does this image compare to another 1937 photo by Lange of a Japanese mother and daughter serving equally agricultural workers?
Women and Art Helen Frankenthaler, Mountains and Sea, 1952, oil and charcoal on canvas, Helen Frankenthaler Foundation, Inc., on loan to the National Gallery of Art, Washington At historic period 23, Helen Frankenthaler painted Mountains and Body of water, a breakthrough piece of work that has influenced generations of artists. Using thinned oils, she poured the paint in pools that flowed across the surface of her raw (or unprimed) sheet, which was placed on the flooring. This procedure created luminous fields of transparent color, while some areas, mostly around the edges, were purposely left open up and immune the weave of the raw canvas to flatten the image. This "soak/stain" technique, which Frankenthaler pioneered, proved an important footstep forward for painting. The title of this painting was inspired past a summertime trip to Cape Breton Island in Nova Scotia, Canada, where Frankenthaler encountered a view of the country and ocean meeting in a clash of waves, rocky shore, and vivid light. This work was shown in a gallery exhibition in 1953 in which non a single painting was sold. Frankenthaler would go on to go one of the most celebrated artists of her time. Are there pioneering women who inspire you?
Women and Art Alma Thomas, The role of color is of "paramount importance." As Alma Thomas said, "through color I accept sought to concentrate on beauty and happiness in my painting rather than on man's inhumanity to man." Thomas created this work when she was well into her seventies. The artist found inspiration in landscapes and flowers around her, which she stylized in shapes and patterns created with repeated, colorful brushstrokes. Her paintings are infused with personal memories and references; in this example, the work's title refers not only to the springtime flowers that populate Washington, DC, where she lived, simply likewise to the plucky vocal published in 1929 and famously recorded by Tiny Tim in 1968. Although Thomas worked equally an artist steadily her entire life, setting up a studio in her dwelling house, she was unable to make a living as an artist. Equally an African American woman who grew up in the South during the Jim Crow era, she experienced the boosted weight of racism and segregation. Thomas chose one of the few options available to women who sought employment and financial independence: a degree in educational activity, which she applied to a career of over 40 years didactics in Washington, DC, public schools, all the while painting during nights and on weekends. Upon retirement at age 69, she devoted herself total-time to fine art making. She realized a remarkable and productive "2d deed" in life, achieving visibility and, at age eighty, a solo museum exhibition (at the Whitney Museum of American Fine art in New York). Consider your own community: Who are the artists around you? What can yous notice in your ain environment that inspires yous? Tin you identify a text or song that shares the mood of this piece of work of art?
Women and Fine art Miriam Schapiro, Miriam Schapiro was a pioneer of feminist art commencement in the 1970s. Feminist art gave visibility and voice to the particular conditions of women's personal and socioeconomic lives. Schapiro's etchings of crochet recall drawings of similar objects from the Index of American Design (IAD). Traditional, embroidered samplers and examples of fine crochet made by generations of young women—and visually documented in the IAD—embody conventional expressions of domesticity. Schapiro's works slyly subvert those ideals while also paying homage to household labor and activities performed largely past women. This carving commands "Take a Seat," with an epitome of a chair replacing the terminal word. It was part of a series that recognized the unseen and uncredited work of women in the dwelling house, whether sewing, mending, cooking, or cleaning.
Women and Art Miriam Schapiro, Miriam Schapiro was a pioneer of feminist art start in the 1970s. Feminist art gave visibility and voice to the particular weather of women's personal and socioeconomic lives. Schapiro's etchings of crochet recall drawings of similar objects from the Alphabetize of American Blueprint (IAD). Traditional, embroidered samplers and examples of fine crochet made by generations of young women—and visually documented in the IAD—embody conventional expressions of domesticity. Schapiro'south works slyly subvert those ideals while besides paying homage to household labor and activities performed largely by women. This etching looks like a bread doily through which some flour has left a corresponding grid. (The duplicate white image was created by putting the aforementioned plate, uninked, through the printing press.) The shape of the sampler also suggests a dollar bill—perhaps a pun on the word "bread," as well as the idea that this was the merely kind of "staff of life" women could make at certain points in history. This etching was function of a series that recognized the unseen and uncredited work of women in the domicile, whether sewing, mending, cooking, or cleaning.
Women and Art Laurie Simmons, Laurie Simmons creates fictional tableaux which she carefully lights and photographs. Some are miniature scenes, such as this i of a adult female/doll in a kitchen. While the moving-picture show looks like it could exist a peek into a dollhouse, the way in which Simmons presents the scene suggests something off-kilter and discomfiting. The blackness-and-white photo and its dramatic lighting evoke onetime Hollywood films of the mid-twentieth century. During that fourth dimension, popular culture—including movies and toys—often reinforced gender stereotypes, depicting women in domestic roles. In Woman/Royal Clothes/Kitchen, a clock shows the fourth dimension as but subsequently six o'clock: Is it early evening and the woman/doll awaits the arrival of her spouse? As is oftentimes the case with dollhouses, the proportions of the objects are slightly off. Here an array of baked goods, kitchen utensils, and a giant radio on the table are half equally large every bit the woman/doll standing behind them. Consider how you observe, internalize, and challenge gender roles in your life. Do you encounter whatsoever evidence of changing viewpoints in society? What are they?
Women and Fine art Betye Saar, Betye Saar is a Los Angeles–based artist who mingles personal history, mythology, and folk art to reflect upon her life and the African American experience. Twilight Awakening centers on a powerful cardinal figure who hovers between the infinite of sea and state, the moon and star. The work's symbology indicates that the figure is Aquarius, the Water Bearer. The signs of the zodiac derive from Roman antiquity, visualizing the passage of time through labor and activities associated with different times of the twelvemonth. The work is a iii-dimensional aggregation: it is fabricated on a wooden base of a recycled printer's block, to which Saar added scavenged and sculpted pieces of plastic, ceramic, and glass. These personal objects, begetting marks of use and history, lend a magical power to the tiny panel measuring only 3 ¾ × iv ½ × ¾ inches. Who are the storytellers in your life? How do they share their stories?
Women and Art Joan Mitchell, This moving-picture show consists of four panels that are 26 anxiety long altogether. The painting's chiliad horizontal calibration with its bright lemon-yellow background, white plumes in the middle ground, and green and blue textures advise immersion in a sunny summer landscape, radiating light, open air, and nature. Mitchell said, "My paintings…aren't about art issues. They're about a feeling that comes to me from the outside, from landscape." In what ways is it possible to visually portray intangible things like a feeling? Do you recollect gender identity must be addressed or made visible in a woman's work of art? What are the limitations that take been placed on women in all fields, historically and now?
Women and Art Graciela Iturbide, In this image, a daughter is dressed formally for her fiesta de quince años, or quinceañera, to marker her entry into womanhood. This special recognition of the 15th altogether is a custom in Mexican and other Latin American cultures. Graciela Iturbide contrasts this celebration of emerging adulthood with the presence of the girl's grandmother seated in the foreground, whose appearance suggests a life of hardship. The expressions of the ii relatives are afar and difficult to read. Iturbide is amongst the foremost figures in Mexican photography, known for her work documenting Indigenous cultures around the earth. In 1978 the Instituto Nacional Indigenista hired her to photograph United mexican states'south Indigenous populations. Equally part of that work, she traveled to Juchitán, whose inhabitants are of Zapotec heritage, with a matriarchal society. This photograph is from that projection, collectively published as Juchitán de las Mujeres (1989).
Women and Art Graciela Iturbide, Graciela Iturbide is amongst the foremost figures in Mexican photography, known for her work documenting Indigenous cultures effectually the globe. In 1978 the Instituto Nacional Indigenista hired her to photograph Mexico's Indigenous populations. As function of that piece of work, she traveled to Juchitán, whose inhabitants are of Zapotec heritage, with a matriarchal society. This photo is from that project, collectively published every bit Juchitán de las Mujeres (1989). Iturbide's exercise involves immersing herself into the communities that she photographs. While shopping for groceries one 24-hour interval, she was approached past Magnolia, who wanted her picture show taken. Magnolia was part of a community of muxes, individuals assigned male at birth just who place equally other genders. In some Indigenous cultures, muxes are considered a 3rd gender and people with special powers. Magnolia holds a mirror upward to her contour, doubling her paradigm and suggesting the multiple ways that identity may be presented.
Women and Art Guerrilla Girls, The Guerrilla Girls is an bearding and always-changing group of women artists, curators, and writers who use performances, public demonstrations, and visual fine art to abet for greater representation of various artists in museums, galleries, art publications, and other creative pursuits. The Guerrilla Girls dress in full-body gorilla suits to perform guerrilla deportment, such equally protests, on behalf of women and other underrepresented groups in the fine art world. The costumes disguise their real identities and allow them to assume the pseudo-identities of famous women artists. This satirical gesture familiarizes women artists' names while also preventing the individuals from existence blackballed by the institutions confronting which they protestation. This lithograph is considered a fine art object, all the same the image/text has been produced in different formats and materials to role as a protest poster, like to what y'all might run into in a demonstration or plastered on bus stop shelters or walls. The Guerrilla Girls collect information and statistics upon which they base of operations their clever and boldly headlined messages well-nigh art world inequities. To date, approximately xi percent of the artists represented in the National Gallery of Art collection are women. Do you notice this an effective class of activism to address sexism? Why or why not? What other methods have activists used today and in the contempo by to address sexism?
Women and Fine art Barbara Kruger, Barbara Kruger got her start working equally a graphic designer at Glamour magazine in the tardily 1960s. Before digital folio layout existed, graphic designers made "paste-ups" comprising collaged elements—such as titles, texts, captions, and images—to create a designed page. The collage was so photographed for reproduction in the magazine. Kruger has riffed on this process in her work as a visual artist. Using a distinctive graphic mode, she exposes power dynamics in her personal life, work, and politics. This paradigm depicts a adult female receiving a mysterious handling to her eye administered by the faceless figure of a medical professional in the groundwork. The three red bars with text split up the medical instrument in the height half from the receptive, passive woman in the lesser half with the ominous text: "Know nothing / Believe annihilation / Forget everything." What might those words imply? Why do you think the artist uses text alongside her image? How does the text relate to the image that it is paired with? How can art be a vehicle for social critique?
Women and Art Myra Greene, This close-up cocky-portrait past Myra Greene addresses the complication of how we run across other people and what we can know by seeing them. The photograph isolates and fragments a part of Greene's face, denying u.s. the ability to see her equally a whole. The piece of work intentionally uses a vintage photography technique called ambrotype to insinuate to a 19th-century version of racial profiling in which photography was used to classify facial features to support white supremacy. This photograph is part of a serial titled Graphic symbol Recognition. Greene began this project in 2006, noting, "Confronted with an up corking of bigotry both personal and public, I was forced to enquire myself, what practise people see when they look at me. Am I null but black? Is that pare tone enough to describe my nature and expectation in life?" Could this piece of work be considered an act of intersectional feminism? Why or why non?
Women and Art Myra Greene, This close-up self-portrait past Myra Greene addresses the complexity of how we encounter other people and what we can know past seeing them. The photo isolates and fragments a office of Greene's face, denying the states the ability to come across her as a whole. The work intentionally uses a vintage photography technique chosen ambrotype to allude to a 19th-century version of racial profiling in which photography was used to allocate facial features to support white supremacy. This photo is part of a serial titled Character Recognition. Greene began this project in 2006, noting, "Confronted with an up smashing of bigotry both personal and public, I was forced to ask myself, what do people meet when they look at me. Am I zip merely black? Is that skin tone enough to draw my nature and expectation in life?" Could this work exist considered an act of intersectional feminism? Why or why not?
Women and Art Myra Greene, This close-up self-portrait by Myra Greene addresses the complexity of how we meet other people and what we tin know by seeing them. The photo isolates and fragments a role of Greene's face, denying usa the ability to see her as a whole. The work intentionally uses a vintage photography technique called ambrotype to allude to a 19th-century version of racial profiling in which photography was used to classify facial features to back up white supremacy. This photograph is part of a series titled Grapheme Recognition. Greene began this projection in 2006, noting, "Confronted with an upwards swell of bigotry both personal and public, I was forced to ask myself, what do people meet when they wait at me. Am I nothing simply black? Is that pare tone enough to describe my nature and expectation in life?" Could this piece of work be considered an act of intersectional feminism? Why or why not?
Women and Fine art Kara Walker, This etching is part of a serial—An Unpeopled Land in Uncharted Waters—whose six works refer to the transatlantic slave trade. Its title, no world, may be a pun on "New World," referring to dislocation and an in-betwixt land. The prototype, resembling an illustration from a graphic novel, communicates a narrative of mythological proportion. The sailing ship, alluding to a vessel used in the forced send of African people to the Americas, is being lifted out of heaving seas by behemothic black hands. A dramatic column of black and white clouds clash in the sky to a higher place, suggesting conflict, while below the water, a floating female figure faces downwards. A long wave moves toward the shore, upon which stand 2 afar, caricatured silhouetted figures with some spindly plants, perhaps a reference to the 19th-century agricultural economy that depended on the labor of enslaved people. Kara Walker's work addresses the violent, traumatic history of slavery and its legacy. A female effigy is a prominent office of this work. Why might Walker have made the choice to include this effigy, and to give her prominence in the foreground?
Women and Art Nikki S. Lee, Artist Lee Seung-Hee adopted an Americanized name, Nikki South. Lee, when she moved to the United States from South Korea. In this photograph, nosotros run into the fourth dimension-honored ritual of talking and applying makeup in the ladies' room. The image even has an orange fourth dimension stamp that dates information technology to June 14, 1998. Lee's photographs are a component of a larger, performance-based project begun in New York Metropolis to explore a range of self-identifying cultures, some based on gender or race, others on intersecting music, fashion, or professional subcultures. Over a flow of months, Lee would assimilate herself into a particular grouping, forming relationships and building trust. Next, she transformed herself through dress, makeup, and gesture so that she appeared to exist a fellow member of that civilization. She then documented her inclusion in the grouping by giving her point-and-shoot camera to 1 of her new friends. In this prototype, we run into Lee in the foreground applying lip liner. What questions does this image enhance about group identity and acceptance, whether based on civilisation or gender?
Women and Art Rozeal (formerly known equally iona rozeal dark-brown), Rozeal uses the championship of this work, a play on Aphrodite, ancient Greek goddess of beloved and beauty, to present a cross-cultural rebellion on beauty ideals that traverses the Eastern and Western Hemispheres. Rozeal spent fourth dimension in Japan through a fellowship plan and became interested in the ganguro style, whereby young Japanese women counter traditional beauty norms past wearing skin-concealment makeup, dying their long pilus blonde, and applying long boom tips. As a DJ and functioning artist, Rozeal underscores ganguro'southward references to African American hip-hop civilization—seen in the words "back and along" repeated in the background, a quotation from the song "Whip My Hair" past Willow Smith, while music discs frame the figure. The stylized appearance and pose of the figure recall Japanese 19th-century ukiyo-e prints, which traditionally describe a fantasy world of nightlife and geisha. What does beauty mean to you? What does this work of art make y'all call back about women in your ain customs and culture?
Women and Art Sheila Hicks, This frail work, smaller than a standard sheet of paper, is carefully constructed from fibers. Sheila Hicks has built a long career exploring the intersections between so-called art and textiles. In and so doing, she has brought creative practices like weaving and tapestry, which are often denigrated as crafts and women's work, into the mainstream. Hicks enrolled at the Yale Schoolhouse of Fine art during the 1950s and studied with Josef Albers, an abstract artist and color theorist originally from Germany. As a student, Hicks also became acquainted with the work of Albers's married woman, Anni Albers, considered one of the foremost textile artists and designers of the 20th century. A grant to study painting in Republic of chile sparked Hicks's interest in Ethnic textile traditions and led her to embark on a cocky-guided tour through every state of South America. During her nomadic career, she has developed cobweb arts workshops in United mexican states, Chile, and S Africa. Today she works largely from a studio in Paris. Hicks'due south work spotlights the fourth dimension and labor that fabric arts entail—hours spent in repetitive motions and gestures to create pliable forms that reveal the traces of their making. Although jump by their structure, her works oft appear remarkably costless and expressive. Modestly scaled works, such every bit, Embedded Thoughts, made of narrow strips of fragile paper wrapped in tiny threads of silk, serve as "sketches" in which the artist works through experimental ideas. Are at that place any traditions that have been passed down among women in your customs or culture? Exercise you participate in these traditions? Why or why not?
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Source: https://www.nga.gov/learn/teachers/lessons-activities/uncovering-america/women-art.html
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