Comparison Of Cindy Sherman And Flowers On The Body
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In the 19th century many debates raged on the correct way to showcase a women’s body in a painting. “What was the relationship between women’s moral and sexual nature?” (pg. 272), artist worked to find a balance between these two concepts. A successful combination of these two topics can be seen in the can be seen in Eclogue by artist Kenyon Cox. Cox’s painting depicts four women naked and partially clothed lounging about together in a field.
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In your journey, you may come across artworks that appear similar; however, it is highly unlikely that you will encounter artists who work in the same manner. When presented with two artists, how do we effectively compare and contrast them? Instead of stating our opinions on the artists and expressing who we believe is better or worse, we focus on analyzing their differences identifying similarities, and recognizing the influence their art has had on society. In this paper, we will discuss the similarities and differences between Georgia O'Keeffe's and Frida Kahlo’s art, along with the impact that their pieces have had on the art we know today. Georgia O'Keeffe and Frida Kahlo, two prominent female artists of the 20th century, share several
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Like “For the women’s House” was one of her first public exhibition and major work supporting women. This painting style emerged soon after her oil painting series of the American people and American Blacks during the 19th century for black women and to achieve the gender equality. “For the Women’s House” based on the interviews conducted prison inmates, but at the end, she just wants to use only women inmates because a showing of men the painting will reduce the effect of different kind of works mentioned in the painting. Faith in her biography mentioned that “My intention was to broaden women’s images of themselves by showing women in roles that have not been traditionally theirs… and to show the women’s universality by painting a work which crosses the lines of age, race, and class.” (Henderson, 2014).
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Cindy Sherman Cindy Sherman is a beautiful and talented photographer, model, and filmmaker. Sherman was born in 1954 on January 19th in Glen Ridge, New Jersey. (Encyclopedia of World Biography). Sherman’s parents are Dorothy and Charles Sherman.
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It is important to know why a piece is primarily created as well as the messages behind them. Reclaiming Female Agency is all about why something is initially created and the reason behind the artist’s style. For them it is just as important to the piece being named for the artist. Broude and Garrard along with all the artist they used to feel that if the artist was raised by an artist or had great tragedies happen to them as important to what they created and why. One artist’s story that stuck with me was Artemisia Gentileschi and what was also said about women killing men and others by Garrard.
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During the 19th century the art field had been mostly made up of male artist. As well as focused purely in European styles. That incorporated a “quest to establish natural forms of expression and cultural identity.” (www.figgeartmuseum.org) Then began the industrial movement that boosted the “ art collection and patronage, which was regarded as a sign of cultivation and spiritual enhancement that offset the extreme materialism of the age.” (www.figgeartmuseum.org)
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In this essay, Pollock went into why American born and French trained artist Mary Cassatt paints whom she paints—women and children. Like most artist, Cassatt paints what she is familiar with and due to the time and place, she was more or less forced to paint what she did. Pollock pointed out such obstacles, whether it is her father disapproval with her education; her choice between a having a productive career or having a family of her own and her appetence into the male dominated art world. Pollock also goes into detail about why Cassatt paints her subjects in the settings that she does. Her paintings capture what I would call the quiet moments mostly between mother and child—moments that her male counterparts will not or cannot capture.
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When I undertook this project I wanted to choose female artists who were outstanding at their craft regardless of their gender, while also I wanted female artist who’s work had themes that the mainstream art industry neglected. The three artists I will be focusing on are Dorothea Lange, Emily Carr, and Daphne Odjig. Dorothea Lange was an influential American documentary photographer and photojournalist, best known for her Depression-era work for the Farm Security Administration. Emily Carr was a Canadian painter and writer heavily inspired by the Aboriginal peoples of the Pacific Northwest Coast. Carr was one of the first painters in Canada to adopt a Modernist and Post-Impressionist painting style.
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Then by the 1970’s many women artist fought art institutions so their art can be distributed in art galleries because it was more of a male dominant
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In society, there are several stereotypes and gender roles culturally influenced by women today. Cindy Sherman’s Untitled Film Stills series made between (1977-1980) shows different stereotypes of women in different everyday situations. This series consists of the artist posing as those female roles in seventy black and white photographs. In my opinion, by doing this series she challenges the way we view women regularly in pictures, by giving a different perspective. In this paper, I examine Cindy Sherman’s work and how my work is inspired by or relates to her work.
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It witnessed a tremendous change in the ideal female body image, which also changed from one decade to another. In The twentieth century, women started gaining more rights and expressing themselves more, witnessing a rise in women’s movements and newly formed organizations, a new generation of female artists, photographers, and writers. Females were emerging out of the set boundaries that the society had set for them and joined the workforce, contributing a lot to society. This offset feminine freedom was reflected through the way women represented themselves.
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Some of Sherman’s most noteworthy works of art are, “Untitled Film Stills” which shows Sherman in many stereotypical female roles based in the 1950’s. Other works are, history portraits where she had herself made over into a milkmaid and a clergyman to name a few to mimic the job titles throughout history. In her more recent works of art (2008) she depicted the process of aging. These were not the only themes she has chosen throughout the years to embody. She has also touched on cinema, myth, carnival, fairy tale, gender, class identity, and
1594 Words | 7 Pages
In the reading, Art, Space, and the City by Malcolm Miles, the contrasting space and representation of gender that is designated in city spaces is analyzed, along with the overall representation of the city. The novel notes that the space and representation of men in the city is larger and more dominating in the city, men are assumed to control the public city spaces. Women on the other hand are pushed out of public spaces and are associated with more private, domestic parts of life. This association has shaped the development of the city, which takes after male characteristics, and has spread to occupations that often omit of ignore the presence of women in fields of work and portions of life. Today, the growing presence of women in art and in the city is changing assumptions about art and womens artists.
3654 Words | 15 Pages
America was segregated and blacks and whites had a different set of rights under what were called ‘Jim Crow’ laws. Not only was there racial oppression, however, but women were also oppressed and viewed as inferior to men. This started a huge movement of the arts which prompted changes in unjust laws and legislation. The 1960s brought about a great movement of the arts as the oppressed people and the activists spoke out against the unfair laws through their various art forms.
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This essay discusses transnational feminism in contemporary art and Reilly talks about her experience curating the art exhibit "Global Feminisms: New Directions in Contemporary Art," which presented a selection of young to mid-career women artists from a variety of cultures. The essay examines transformations in feminist theory and contemporary art practice and talks about artists Patricia Piccinini, Dayanita Singh, and Catherine Opie. Reilly really focuses on challenging First World Feminism that assumes "sameness" among women. Instead, the show and essay acknowledge the differences in the woman's lives. " In other words, this all-women exhibition aimed to be inclusively transnational, evading restrictive boundaries as it questioned the continued privileging of masculinist cultural production from Europe and the United States within the art market, cultural institutions, and exhibition practices."
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