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Similarities Between Buckman And Judy Chicago

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A Perspective is defined by the way someone might view a subject. It is often based on the person’s values, attitudes and beliefs or what experiences they have had in their life ("perspective Meaning in the Cambridge English Dictionary", n.d.). -slide change- The two artists that I will be analysing, identifying their perspective, conceptual and material practices and explaining how their work has influenced my own body of work are Zoe Buckman and Judy Chicago. Buckman explores the differences and similarities of hip-hop and feminism that she grew up with, from a personal and social perspective. Whereas, Chicago, a famous and key pioneer of feminist art in the 1970s, has a strong focus on women’s history, the feminist movement and the promotion of women in art. …show more content…

This is then hand embroidered, acting as a link to women’s history, onto lingerie garments of varying size, type and age, to show objectification. This is similar to Chicago, in that she shows her perspective through her media, for example, embroidery, but her concept has a stronger focus of celebrating great women in history. -slide change- My studio practice is strongly taken and inspired by Zoe Buckman’s work, ‘Every Curve’ in embroidering quotes on various undergarments. And my conceptual practice is influenced by Judy Chicago’s ‘The Dinner Party’, revealing and celebrating women’s achievements with a reference to body image and exploring women’s sexuality. My work links with the unit’s concept as I clearly give a female perspective into the objectification but also empowerment of

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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 comparison, in the document, “In the Home of an Italian Rag Picker VS. The Portrait of Virginia Michael Stern”, two individual women are placed in different environments, dressed differently, and also had a different atmosphere among them in the images. While one woman on the left was solemn, and hopeless, the other woman was displayed in a classy manner, and described as luxurious. Both documents present the theme, “Development, Transformation Of Social Structures''. In the document, “The New Woman of the 1920s”, it describes, and explains the evolution behind women empowerment amongst fashion trends, and breaking the stereotypes of traditional mannerisms.

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From 39:50 to 40:53, this scene shows how the Officer Will Simpson (Wil Travel) was victim of Kilgrave (David Tennant) power of controlling the mind of other people. After using him to assault Trish Walker (Rachael Taylor), Kilgrave (David Tennant) continues to use his power to manipulate the Officer Will’s mind in order to make to do a suicide. The scene start by a long shot and a high angle framing, the camera shows, from a window, the Officer Will Simpson (Wil Travel) and Kilgrave (David Tennant) in his apartment. The image is took from their back, so we cannot see their face.

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Additionally, In Chicago’s book Through the Flower she writes about how the Fresno Art Program began and her own realization that she needed more than to just want to become an artist in order to be one. She describes the process she went through in the attempt to create a space in which women would feel safe to express their opinions without the interference of men. Chicago states that it wasn’t that the men were necessarily saying or doing anything to make the women feel unable to speak freely, but rather, she says, “their presence reminded the women of society’s tacit and all-pervasive instruction that they should not be too aggressive, so that the men’s egos would not be threatened.” (Chicago 1167) Once Judy felt sure that this would create

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Although for Nevelson, wood and black don’t have a particular symbolism to her work, but rather serves as the tools of attaining an essence, one can observe some direct references to the differences shared by the feminine and masculine social expectations and associations within her work. New York City did not just gave Louise Nevelson the opportunity to inspire from the Abstract Expressionist that was a “cross-fertilization had been essential to her development as an artist”, but also the architecture of the city as a source of inspiration. (Lisle, 129). Nevelson always mentioned the impact of New York City as a megapolis on her large scale works made in the late 1950’s and early 1960’s. For instance, Nevelson explains how the city’s artistic and urban transformation aided her style to develop into a

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