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
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.
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).
Women have been overlooked in the art world and treated with disrespect but why? Based off the article, literature
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.
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)
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.
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.
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
During the formative years of the Women’s Liberation movement, women artists began to develop a collective voice against gender inequality, and many artists chose to infuse their art with their personal experiences of womanhood. “The personal is political” became a slogan taken up by feminists regarding their art and their dissatisfaction with various social constructs. The paring allowed women artists to showcase their individual experience in the context of womanhood as well the varying issues women are confronted with. Many of these artists/writers depicted the intersectionality of these issues—for example; race, ethnicity, bodies, sex and sexuality – within their art and present them as equal to their identity as a woman. For many of these artists, the problem is visibility and how they seek, confront or challenge it as woman.
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.
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.
Artists and their art are influenced by the culture and events in the area they live in. Ever since the fight for equal rights for women in the United States had taken off people have shown their support in many ways. One way some women have contributed was by creating works of art. While art is used to express the thoughts and feelings of the artists, female artists used to not get the chance to show their talent. In the case of Margaret Keane, known as the ‘Big Eyes’ painter, her Husband had taken credit for her artwork for years.
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.
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."
