The Feminist Critique of Art History

Gouma-Peterson, Thalia; Mathews, Patricia

doi:10.1080/00043079.1987.10788437

Cited by 46 publications

(6 citation statements)

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“…From protest at the dearth of presence and inclusion of female artists in galleries and museums to restoration of the degraded languages of decorative and craft-based arts, the first segment of Feminist art became a liberal and vehement art practice, and was specifically concerned with altering art history and techniques to include female artists in the artistic and historical narrative (Gouma-Peterson, 1987). Judy Chicago, one of the earlier feminist artists and the pioneer of Feminist art, known for her unorthodox artistry, designed an institution for the Feminist Art Program at Fresno, California, in 1970, and then, with the collaboration of Miriam Schapiro, they established another institution at CalArts in Valencia, California, in 1971.…”

Section: Feminist Art: Visual Representation Of Womenmentioning

confidence: 99%

The Path to Womanhood: An Analytical and Historical Study on Feminism and Feminist Art History

Hosseini¹

2023

Proceedings of the 5th World Conference on Research in Social Sciences

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Throughout history, the negligence towards women and prohibition of practicing their basic rights have cast a shadow on their achievements and triumphs. The lack of femaleoriented narrative and acknowledgment of their presence in pivotal events in history mispresented them as the inferior of the sexes. With their lives dictated to them by the ruling powers, and the opportunity to be considered as part of their respective societies gone astray, women were not permitted to develop a sense of identity and individuality for centuries. However, the mid-nineteenth century marked a revolutionary period in women's history through a movement that would later establish substantial changes in their lives, known as the Feminist movement. To have their voices heard and messages spread, feminist artists became the main advocators of feminism and through their artistic innovations and transparency towards womanhood, they shed light on matters history failed to correspond to until the 1970s. To be able to understand the chronological context of these pivotal changes, this paper aims to give a historical overview and response to the following questions: 1-what is feminism? 2-how did Feminist art come to be?, and 3how did feminism and Feminist art change the conception of art in the art world? To answer the former questions, the author aims to use the qualitative historical-analytical research method through the study of historical and theoretical literary works in English of the said period collected from libraries in Hungary and other open resources.

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Section: Feminist Art: Visual Representation Of Womenmentioning

confidence: 99%

The Path to Womanhood: An Analytical and Historical Study on Feminism and Feminist Art History

Hosseini¹

2023

Proceedings of the 5th World Conference on Research in Social Sciences

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“…I would refer those who are interested to a review article of the literature (Gouma-Peterson and Mathews, 1987). Despite problems in its analysis of generational and geographical difference within feminist art theory, it is packed with useful references.…”

Section: Notesmentioning

confidence: 99%

Within the Pale infrom: Beyond the Pale:the construction of femininity in the curating of an exhibition season at the Irish Museum of Modern Art, Dublin

Robinson

1997

Journal of Gender Studies

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In the winter of 1994-1995 the Irish Museum of Modem Art, Dublin (IMMA) held a season of exhibitions under the umbrella title from: Beyond the Pale. The publicity for the season high-lighted two issues in particular: the English colonial concept of 'the pale' as it was developed in Dublin, and the positioning of Irish culture in relation to this in a post-colonial period; and the importance of the concept of 'the feminine' in contemporary art practices. This paper explores how women and 'the feminine' were positioned by from: Beyond the Pale. It does this in two ways: by analyzing the framing' of the season-in particular, the publicity leaflets and the catalogue; and by then attending to the curating of the two main exhibitions of the season. Through focussing on this framework (rather than particular exhibits) the paper argues that the season, despite its intentions to the contrary, re-built its own 'pale' and located women and 'the feminine' as occupying an emblematic, 'other', or 'primitive' position beyond it. Preamble: front: Beyond the Pale: a sideways lookThe 1994-1995 exhibition of Sheela na Gig figures at the Irish Museum of Modern Art was for me both deeply moving and highly problematic. It was moving because these medieval carvings of women displaying their genitals (carved we know not why, nor by whom) are so utterly removed from the common present display of female genitals yet able to carry profound meanings to a contemporary audience of women. Non-functional as provokers of male desire, they are nonetheless deeply alluring to women viewers as they enact a representation of female sexuality not found elsewhere in our culture. Powerful, stark, literally unspeakable (what are the words that I can begin to use to construct this-what is it? emotion? knowledge? intelligence?-that I experience in this encounter?), a wish for identification is provoked in me, a woman viewer, by the carvings. At the same time, the exhibition was problematic for a number of reasons springing from the immediate context in which the Sheela na Gigs were placed. The juxtaposed exhibition, Picasso to Koons, gave a confrontational positioning rather than the subtle or rich dialogue that might have been possible with other works; and the overall 0958-9236/97/030255-13

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“…Why have there been no great women artists? Linda Nochlin's significant essay was published in 1971 (Gouma-Peterson & Mathews, 1987). Ann Sutherland Harris and Linda Nochlin engendered artists' identities: From 1550 to 1950, they were involved in the exhibition of the works of women artists of that time.…”

Section: The Efforts and Achievements Of Feminist Art Movementmentioning

confidence: 99%

Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

Rani¹,

Jining²,

Shah³

2021

rupkatha

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The manuscript focuses on the autobiographical artistic practice of women artists and feminist expression in visual art, particularly those women artists who use embroidery and textiles as mediums, techniques, processes, styles, subjects, and themes. Women artists often use a variety of unique materials and techniques to create artwork which are primarily related to them and show a feminist identity. The research explores the mediums, tools and techniques applied by women artists in their artworks and the reasons behind choosing that particular medium and methods. In addition, women artists when, where, and how these diverse creation strategies have been adopted and developed over time are examined and analysed with the help of earlier literature, articles, research papers, art exhibitions, and artworks created by women artists. This manuscript discusses the chronological development of embroidery and textiles in the context of women’s art practice, the efforts and achievements of the “Feminist Art Movement” and the cause and concept of “Entangled: Threads & Making”, a contemporary woman artist art exhibition at Turner. Embroidery and textiles are associated with women’s art practice; women artists used embroidery, needlework, and textiles as a powerful symbolic medium of expression and resistance against the male-dominated art society. They began to use feminist expressions, forms, and materials to present their new characteristics. Women artists use embroidery, textiles and needlework as feminist traditional materials and techniques, and continue to struggle to blend them with other new contemporary mediums.

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The Feminist Critique of Art History

Cited by 46 publications

References 0 publications

The Path to Womanhood: An Analytical and Historical Study on Feminism and Feminist Art History

The Path to Womanhood: An Analytical and Historical Study on Feminism and Feminist Art History

Within the Pale infrom: Beyond the Pale:the construction of femininity in the curating of an exhibition season at the Irish Museum of Modern Art, Dublin

Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

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