Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues that this should not be due to the fact that women during this period lived and worked in different "spaces" then men.…
The purpose of this research paper will be to briefly tell about some of the extraordinary women artist from the 1950’s to present. Team Louvre has chosen the following women artists: Audrey Flack, Helen Frankenthaler, Nancy Graves, and Alice Neel to share briefly their story as women artist.…
Piland, Sherry. 1994. Women artists: an historical, contemporary, and feminist bibliography. Metuchen, New Jersey: Scarecrow Press.…
2 Pollock, Griselda. Vision and Difference: Femininity, Feminism and the Histories of Art. (London:Routledge, 1988), 172.…
Before the late 19th century women were not accepted to study into official art academies, and any training they were allowed to have was that of the soft and delicate nature. This may be why that during the early years of the modern feminist art movement, the art often showed “raw” anger from the artist. “The Feminist Art Movement began with the idea that women’s experiences must be expressed through art, where they had previously been ignored or trivialized.” (Napikoski, L. 2011 ) The artists of this movements work showed a rebellion from femininity, and a desire to push the limits. Women artists began to protest at art galleries and institutions that would not accept them or their work. Some also started opening women’s learning facilities of their own, such as Judy Chicago did in 1971, when she established the Feminist Art program at Cal State Fresno. The…
Cited: Buick, Kirsten P. "The Ideal Works of Edmonia Lewis: Invoking and Inverting Autobiography" in American Art, Vol. 9. Summer 1995, pp. 5-19.…
Lewis, Clark, and the rest of their expedition ( A.K.A the Corps of Discovery) began their journey near St. Louis, Missouri, in May 1804. They encountered dangerous waters and harsh weather and endured hunger, illness, injury, and fatigue. Along the way, Lewis kept a journal of their sightings and adventures in addition to samples of plants and animals he confronted.…
In the article “Gender Role Stereotypes in Fine Art: A Content Analysis of Art History Books” the author Charlotte G. O’Kelly shares a study made about gender differences in art in the past and in the ways there continues to be differences. Throughout different eras in history, men have typically been the dominate…
Most high art seems to be about death or sex. Throughout her struggle to elevate herself in a man’s world, painter Georgia O’Keeffe struggled a lifetime with these charges attached to her works. O’Keeffe is most known for her enlarged flower paintings and desert scenes rooted in public ideology of the female sexual organs, and bones as death. However, the true intent behind her works is nothing more than to present her world in a beautiful way. Georgia O’Keeffe is a female great American painter that is first and foremost an expressive artist; not a sex symbol, not an angry feminist.…
Much of her art may inspire it’s viewers to think about gender and/or sexuality, as it explores such topics. My favorite pieces of hers are her photogenetics, as they intrigue me. Some appear to be female, but are not what one would consider beautiful, which may cause the viewer (such as myself) to ponder how beauty and gender are associated. Her sculptures reflect the same themes.…
Hosmer's life and work have been liable to much insightful critique in late decades, with a few writers endeavoring to represent her remarkable global prestige as a female sculptor. While Power for the most part was perceived by art enthusiasts, craftsmen of history and by workmanship devotees, women artists like Hosmer were left in the shadows. The exposition coaxes out a perplexing web of mid-nineteenth-century worries that expect cutting edge distractions, including self-designing, gender roles, tourism, the ascent of VIP culture, and the craftsman's complicity with and fights against the contemporary press. All taken together, it looks to entangle and improve our comprehension of Hosmer and her key engagement with sculpture making , prompting…
When discussions concerning the greatest artists of all time arise, we hear mention of Van Gough, Rembrandt, Da Vinci and the likes, but never any great women artist numbered among the aforementioned. Why is this? Linda Nochlin in her 1971 essay, “Why have there been no great women artists?” essentially proposes two reasons or ideas to answer this question. Nochlin believes the notion of artistic genius is one of the primary reasons why art historians are unable to answer this question. The idea of artistic genius has been prevalent since the 15 and 16th centuries. The belief is that great art emerges from personal expression of one’s individual life and is made alive in visual art. Nochlin describes these beliefs as unrealistic and untrue, that the greatest masterpieces in fact did…
Scholderer also paints the object of Wollstonecraft’s gaze, differing from Opie’s portraits and humanizes her by giving her agency in the painting. Nochlin presents her argument against how women are looked at in art stating “the acceptance of woman as object of the desiring male gaze in the visual arts is so universal that for a woman to question, or to draw attention to this fact, is to invite derision,” she reveals the problem of the male dominated world of objectifying women. During Wollstonecraft’s lifetime, feminism and gender equality were radical ideas that were rejected by the public and reflected in Opie’s work. Although a seemingly innocent way of portraying women as staring idly off to the side or at the audience, this actually…
Drawing from many areas of inspiration, Mickalene Thomas is a contemporary artist that explores different depictions of african-american women. Many of her works focus on the african-american women that have a solid standing in todays pop culture. Her works soften the usual view of the african american woman, a gaze that is most often than not harsh and unrelenting, and romanticize their femininity. Mickalenes attempts to blur the lines between the foreground and background in her work, thus leaving everything in her piece in the same spatial realm. The focus and importance then being not the “subject” or “object” but the whole piece in its entirety.…
In the article ‘Why have there been no Great Women Artists?’ written by Linda Nochlins, the author makes her argument and discussion on the issue in artwork of women, and feminist art history. One of the most important points that the author raised is that there are plenty of factors bringing obstacles to women in the western countries in the past, which prevent women from getting success in the art world. At the very beginning of the essay, the author mentioned about the words from John Stuart Mill, saying that people tend to accept the things that whatever is as natural’. It makes an introduction to the main idea of the article that most of the people in the society do believe that it is ‘natural’ that there is no great women artists in the society, and this ambience can be one of the possible factors lead to the…