Feminist Aesthetics Analysis

In both installations, the complex interaction of inconspicuous practice with the desire for personalization is receding into the background. The key role here is played by consumer goods - things themselves, wrapped in knitted cloth. They serve as the basis of the exhibit and sustain the idea that "nesting" involves the demonstration of one's own well-being and good taste, and that is achieved through consumption.

In 2007-2007 [один и тот же год?], two important exhibitions were held at the New York Museum of Arts and Design: ”Pricked: Extreme Embroidery” and ”Radical Lace and Subversive Knitting”, with a total of 75 participating artists raising social and philosophical issues. For example the embroideries of Hella Jongerius and Nava Lubelski are

Nevertheless, it is quite obvious that the area of feminist aesthetics cannot constitute a separate academic discipline, or a homogeneous flow of aesthetic thought. Feminist aesthetics rather represents a set of approaches of feminist philosophy to address such key issues of aesthetic thought as the subject of the creator, the cult of femininity, female art, the canons of normative aesthetics, and so on. In addition, it is important to emphasize that the intellectual trend of feminism itself also does not suppose a single definition, because this phenomenon is not positioned as a homogeneous set of ideas and practices, and therefore it is more appropriate to talk about "feminisms" (for example, liberal , radical, Marxist, Asian-American, anti-racist). That is why it is important to take into account the multiplicity and diversity of the aspects filling the area of the scientific interest to feminist aesthetics, the common denominator of which is the importance of gender and gender equality in the analysis of art

In her article "Why Feminism Doesn't Need an Aesthetic (And Why It Can't Ignore Aesthetics)" R.Felski notes that "the ubiquitous androcentric metaphors and myths about creativity ... defined" women "and" artists "as terms that mutually exclude each other ... From romanticism to modernism and postmodernism, the artist's image was closely associated with the ideal of sinful masculinity, while women were considered capable of reproduction and imitation at best". [к сожалению, прямой оригинальной цитаты я не нашла, перевела близко к тексту] In the same article, Felsky describes the three strategies of feminist art. One of them is proving that women's art has artistic value and that is why it should be included into the established art system, not for political reasons. The followers of this strategy believe that such things as, for example, needlework or sketches of family life, are just as significant and important for art; it is simply because of male domination that they have been forced out of the professional