...Start of the Feminist Art Movement: Overview and Analysis...
– The feminist art movement that officially began in the 1960’s- refers to the efforts and accomplishments of feminists who made art reflecting women’s lives and experiences. In doing so, it brought more visibility to female artists, and was a very influential political statement in itself. It was a movement that consisted of various artists and general public alike, who all fought for the same things, equality, women’s liberation and women’s rights. Artists that made more than their fair share of political statements through their art were the likes Ghada Amer and Barbara Kruger. The issues that they addressed were ideologies commonly held in society, and were issues that they intended to change.
...Middle of the Feminist Art Movement: Overview and Analysis...
It can be interpreted as holding a complex comment on the place of scenario and representation in male-female relations under patriarchy. She builds on the feminist analysis of representation as political ” . (Mulvey, 2009, p. 134). In saying that, Kruger’s use of the female figure in this work embodies very strong political statements, as stated by Catherine King -in other words, but to the same effect-, where although Kruger is directly addressing the male audience, in We Won’t Play Nature to your Culture, she has in turn privileged the female audience and given them primacy of spectatorship, whom presumably share the same views as the artist herself (King, 1992, p. 187). Therefore, directly approaching the concept of patriarchy, and reverses its place in the viewing of this work.
...End of the Feminist Art Movement: Overview and Analysis...
Although the representation of the female figure is displayed as an erotic object of desire (Grosenick, 2001, p.35), the veil of cotton that partially hides the imagery helps to guide the viewers’ attention evade the concept of sexuality and the work becomes a purely busy, colourful painting. Politically speaking, the works by these two very different influential female artists speak to the universally held ideology of the predominant ‘gendering way of looking’, addressing the concept of the ‘male gaze’ through the representation of the female identity. The concept of giving female perspective dominance over that of the ‘male gaze’ is the main objective of the selected works that have been discussed in this essay.
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Indeed, Kruger’s art is invariably directed at the manner in which visual mastery becomes aligned with difference or, more pointedly, at the way in which representations position women as objects of the male gaze (Linker 61). The image was placed on a billboard for the University of Art MATRIX program.
However, the word art also carries meaning to the image. In this image, Kruger has used a statue of a female statue which represented beauty in the traditional art.
McEnroe, John C. “Gender and Representation” Critical Perspectives on Art History. Barbara Kruger and Jenny Holzer created genderless art to convey their ideas about society.
However, they do not discuss each other’s contribution to the feminist debate mainly because all three (Stacey to a lesser degree) offer an overview of the arguments brought forward by Laura Mulvey and Mary Ann Doane. Stacey (1988) is probably the most dedicated of all three to the feminist cause, discussing issues which are taboo for other scholars...
Barbara went beyond this to get a reaction from society by raising this social awareness in her art. The image was placed on a billboard for the University of Art MATRIX program.
It may, indeed, be a mistake to consider women’s art as separate from men’s because it risks placing women’s art in a separate category, a kind of “ghetto” area. Not surprisingly, feminists debunk the myth of the “great artist”, although it is also true that feminist art history itself still relies heavily on the biographies of individual women arti...
Feminist film theorist, Laura Mulvey said how “visual presentation and female characters are constructed to satisfy voyeuristic desires of male viewers, which in turn are based on fear of women and men’s subconscious need to exert power over them (qtd Mulvey 162)”. They both use a woman as the model to deal with the feminist issues.
Additionally Gauntlett (2002, p.207) points out that the encouragement of women to be active in their search for sex is a rejection ‘of passive femininity’, and ‘is feminist progress’. In support of this, Hollows (2000, p.195) argues the feminist messages that are within women’s magazines produce spaces ‘where meanings can be contested, with results...
London: Routledge. Images of power and the feminist fallacy.
Most people have forgotten the essence of life and the simple things that make us live along with the many troubles of humanity and theses contemporary Chinese female artists, through exploring modern art are still preserving the real essence of making art and what art means to them, and the female artists also discover their own experience and find...
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