Resumen Este trabajo cuestiona la evolución del papel de las mujeres en el ámbito fotográfico contemporáneo. A partir del estudio de las primeras mujeres fotógrafas, se analiza la situación de las mujeres como objeto (modelo) y sujeto (fotógrafa); se reflexiona sobre los condicionamientos sociales y la influencia de las imágenes que transmiten los medios de comunicación en la construcción y proyección de la imagen femenina en la fotografía, analizando las fotógrafas pioneras y más relevantes en la historia contemporánea. Finalmente se valora la desigualdad de género en relación con la capacidad de control sobre la imagen proyectada de las mujeres y su identidad a través del cuerpo en el ámbito de la fotografía feminista.
Gender inequality in the various artistic disciplines is still a socio-political problem despite the efforts of governments and institutions. The aim of this article was to examine the catalogues of the permanent collections of ten European museums: the Tate Modern, the Centre Pompidou, the MACBA (Museu d'Art Contemporani de Barcelona), the Museo Nacional Centro de Arte Reina Sof ıa, the Istanbul Modern Art Museum, the MUMOK (Museum Moderner Kunst), the Stedelijk Museum, the Kiasma, the Hermitage Museum and the Astrup Fearnley Museet, and then compare the proportion of women among the artists in their collections. For this purpose, the number of works and artists was counted and analysed in each museum in the sample taking into account the social, political and economic conditions of the institution and relating them to the rest of art institutions. The results show a clear underrepresentation of women artists. Ana M Muñoz-Muñoz (anamaria@ugr.es) is a
Purpose -The purpose of this paper is to understand the role of women in the field of photography after the second wave of feminism in Europe. Design/methodology/approach -The grounded theory on the position of women in contemporary photography has been contrasted with the information collected by the authors in previous research studies on the presence of women photographers in the main museum collections in Europe. Findings -Gender inequality in the various artistic disciplines is a current sociopolitical problem Western countries have been fighting against for several decades. After the resurgence of social movements in the USA and Europe in the 1960s, an artistic movement called feminist art emerged whose significance should be assessed.Research limitations/implications -The paper proposed a general approximation, a foundation on the state of art, which may be implemented in the future with more data coming from other collections. It should be taken into account that this aim is a work in progress in a large scale of the research. Practical implications -This paper includes implications for the development of a more efficient strategy to create a balance situation in the number of men and women photographers at the museum collections. Originality/value -The paper identified a lack of practical analysis on the current averages of female photographers in art institutions.
Fuses (1964Fuses ( -1966. In this study, we discuss the role the artist plays as producer, director and main protagonist of all her production. We reflect on the role of the creator-director as an actor that would lead to the achievement of a film with necessarily autobiographical overtones. Assuming the avant-garde perspective of the cinema as a personal diary, Schneemann's cinema will explore different aspects of identity and sexuality of women in an artistic, alternative and politically feminist cinema. Understanding her cinema as a plastic element, the artist will explore at the same time a physical and matteric experimentation through the filmed bodies as well as the very materiality of the film, excluding any narrative, dramatic and illusory chance of projection of the spectator in both the cinematic and the private space of the artist.
El presente trabajo estudia el papel de las mujeres en el movimiento artístico net.art. Se centra en averiguar en qué posición se encuentra la identidad femenina en el soporte artístico más contemporáneo (la red), cómo se crea, se proyecta y se divulga teniendo en cuenta la interactividad del medio y la influencia en el proceso de creación y recepción de la obra. Reflexionando el arte en la red como herramienta de empoderamiento femenina y contraponiéndolo con las posibilidades que ofrecen los medios convencionales. Se distingue el vínculo existente entre imagen y cuerpo en la construcción de la identidad y se extrapola al net.art. Se obtiene así el resultado de creación de la imagen de las mujeres en este movimiento artístico y cómo se proyecta al ciberespacio. Posteriormente, se procede al análisis de la interactividad que tiene el colectivo femenino a través de internet y la importancia que tiene el ciberfeminismo en la identidad de las mujeres. Se concluye que el arte digital, en concreto el net.art, es una herramienta muy importante dentro del colectivo de arte feminista para la construcción y deconstrucción de su imagen, constituyendo una experiencia pionera en la que el medio puede favorecer la igualdad de género. Se ofrece así un espacio de representación en el que el anonimato y/o la ausencia de génerofacilita la existencia de una igualdad de oportunidades en el ámbito artístico.
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