Old Mistresses: Women, Art and Ideology

Osborne, Caroline; Parker, Rozsika; Pollock, Griselda

doi:10.2307/1394887

Cited by 65 publications

(32 citation statements)

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“…This view overlooks the fact that artistic production is supported by the social structure in which it is embedded (Bourdieu 1994). In the art world, society's gender power dynamics shape the differences between female and male artists through how their works are evaluated (Parker & Pollock 2013), and thus insert gender stereotypes into creative endeavours. For instance, in their analysis of visual art history from the 15th to the 20th century, Parker & Pollock (2013) argued that the patriarchal view of creativity had produced a bias against women artists by promoting the belief that there is a feminine aesthetic that is separate from mainstream aesthetics, thus imposing a gender criterion for evaluating women's and men's art.…”

Section: Feminist Critique Of Gendered Concepts Of Creativitymentioning

confidence: 99%

“…Furthermore, Hesmondhalgh & Baker (2015) extended Parker & Pollock's (2013) historical work by examining gender inequality in the contemporary creative industry, and found that the gendering of creative roles is protected and reinforced by a legacy of associations between masculinity and creativity. By analysing the ideal‐typical artist, Miller (2016) also disclosed that gender implicitly organises social expectations of contemporary artists and artistic work, and suggested that public understandings of creative genius centre on masculine figures.…”

Section: Introductionmentioning

confidence: 97%

“…Creativity is a long-standing but important topic in art education. Most previous studies have treated creativity as a gender-neutral term; however, a key criticism from feminist theory is that stereotypical notions of men and women's creativity shape how creativity is judged and acknowledged in the visual arts (Grierson 2019;Parker & Pollock 2013). Scholars have challenged the presumption that creative attributes are 'masculine', arguing that such gender stereotypes about creativity are formed by patriarchal social structures (Eisler et al 2016).…”

Section: Introductionmentioning

confidence: 99%

“…There is a paradox in the way that people perceive the visual arts: Arts‐related domains are traditionally feminine‐identified through an emphasis on sensitivity and emotions (Hopper 2015), yet creativity, an essential component of the ability to produce artworks, is embodied in the myth of the lone genius—an image of a creative person implicitly associated with masculinity (Nead 1995). These contradictory views on the visual arts are both aspects of art ideology, which is in turn underpinned by patriarchal society (Parker & Pollock 2013).…”

Section: Introductionmentioning

confidence: 99%

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Is Creativity Masculine? Visual Arts College Students’ Perceptions of the Gender Stereotyping of Creativity and Its Influence on Creative Self‐Efficacy

Luo

Guan

Wang

2023

Int J Art Design Ed

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This study investigated visual arts college students’ perceptions of the gender stereotyping of creativity and the influence of this stereotyping on creative self‐efficacy. The sample consisted of 1198 Chinese visual arts college students. The results showed that (a) both male and female students identified stereotypically masculine traits as more important to creativity than stereotypically feminine traits are, (b) male students demonstrated higher creative self‐efficacy than their female counterparts did, and (c) students’ gender significantly moderated the effect of the gender stereotyping of creativity on creative self‐efficacy. Specifically, the gender stereotyping of creativity had a positive effect on male students and a negative effect on female students. These findings revealed that gender stereotypes dominate concepts of creativity in Chinese art education and may hinder female students’ development of creative self‐efficacy, resulting in gendered inequality in the visual arts field. The implications of these findings for visual arts education in China are discussed.

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Section: Feminist Critique Of Gendered Concepts Of Creativitymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 97%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Is Creativity Masculine? Visual Arts College Students’ Perceptions of the Gender Stereotyping of Creativity and Its Influence on Creative Self‐Efficacy

Luo

Guan

Wang

2023

Int J Art Design Ed

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“…As Griselda Pollock and Rozsika Parker suggested forty years ago in Old Mistresses, simply adding names to the canon will not prompt change, without following through on the interrogation of the discipline, and concomitantly in expanding what art can be or do. 23 Hill-Montgomery's art asks for such a risky, inchoate expansion, against containment.…”

mentioning

confidence: 99%

Candace Hill‐Montgomery, Against Containment

Tobin¹

2023

Art History

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In a 1984 Interview magazine profile, Candace Hill-Montgomery is described as 'a true artist-of-all-media and a master of most' (plate 1). 1 She is, the profile continues, 'a poet, painter, performer, musician and photographer', and also a self-described 'environmental sculptor'. 2 She appears in the accompanying portrait dressed in an outfit of her own makingsold from her own businessdotted with photo transfers that echo the work on the walls behind her.Hill-Montgomery was an artist of her time, fluent in both the emerging scene of alternative art spaces in late 1970s New York and the expansive commerce of Andy Warhol, who founded Interview in 1969. But Hill-Montgomery's enterprise was also distinct from these collectives and corporations, and involved collaboration with other artists, poets, musicians, publishers, and storeowners. Her work sought an engaged audience, and she employed a gamut of tactics including environmental sculptures that positioned and situated viewers (Reflections on Vacancy and Candy Coated, both 1979); large-scale photocollages with three-dimensional elements (Historic Extinction and An Unknown Relative, 1979); installations that made visceral state-sponsored violence (92 Morningside Ave -Remember Fred Hampton, 1980) and public commissions in which she gave away food against Federal cuts (Food For Thought, 1981). She also performed poetry in exhibitions and published artist's books that interlaced her writing and visual art (Fire Escape Scrolls, 1982 and Evening Tomorrow's Here Today Since the Hornet Flies I Triangle, 1983). As I will show in this article, her blending of forms produced complex formations.Hill-Montgomery described her practice as changing the 'containment we all live within', and the social implications of her formal experiments were fundamental to her practice. 3 Born in 1945, she came of age in the era of Black Power. As a young woman she had a successful career as a fashion model, before marrying and having two children. Although she worked as a high school art teacher, it was not until her children left for college that she pursued her creative practice full time, alongside a number of businesses. Hill-Montgomery was always politically engaged, and as she re-focused on art and poetry she committed to protesting the fresh outrages of conservatism in the 1980s, as well as addressing entrenched racialized and gendered forms of oppression. This social responsibility resonated with contemporary debates on the public function of art and site-specificity, debates that were particularly fraught in New York as the city became a financial capital. But Hill-Montgomery's work is not easily defined by these terms. Her artworks were often temporary orThis is an open access article under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs License, which permits use and distribution in any medium, provided the original work is properly cited, the use is noncommercial and no modifications or adaptations are made. The use and distribution of any images contained in ...

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Gender and Artistic Creativity: The Perspectives and Experiences of Eminent Female Visual Artists

Ginis

Stewart

Kronborg

2023

Journal of Creative Behavior

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The historically male‐dominated discourse encompassing artistic creativity has often failed to acknowledge the voices and contributions of women. Female artists continue to face barriers in terms of accessing opportunities, attaining positions of prominence, and earning potential, in comparison with their male counterparts. This inequality is deleterious to female artists and society. Therefore, it is important to understand the relationship between artistic creativity and gender, with a particular emphasis on elite female artistic exemplars. The present qualitative study utilized in‐depth semi‐structured interviews, in accordance with the methodology of Interpretive Phenomenological Analysis, to explore the role of gender in relation to artistic creativity among 10 eminent Australian female visual artists. Findings indicated that participants were affected detrimentally by gender‐based inequality on personal, professional, and sociocultural levels. Their experiences as women, however, also inspired and informed their artistic creativity aesthetically and conceptually. The findings challenge patriarchal conceptualizations of the “male artistic genius” by presenting a female‐focused counternarrative. Implications for educating, supporting, and empowering current and emerging female artists to excel are discussed.

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Old Mistresses: Women, Art and Ideology

Cited by 65 publications

References 0 publications

Is Creativity Masculine? Visual Arts College Students’ Perceptions of the Gender Stereotyping of Creativity and Its Influence on Creative Self‐Efficacy

Is Creativity Masculine? Visual Arts College Students’ Perceptions of the Gender Stereotyping of Creativity and Its Influence on Creative Self‐Efficacy

Candace Hill‐Montgomery, Against Containment

Gender and Artistic Creativity: The Perspectives and Experiences of Eminent Female Visual Artists

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