| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "MODERN FEMINIST ART": |
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Modern Feminist Art, 2002.
A overview of three different approaches to modern feminist art under the categories of "The Body Politic", "The Body Social" and "Decoration vs. Abstraction".
2,400 words (approx. 9.6 pages), 6 sources, £ 61.95
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Abstract
This paper will examine three general approaches in modern feminist art by three feminist artists. It will be argued that these feminists assume radically different perspectives with regard to their mediums and objectives. Under the general categories of "the Body Politic" (feminism and politics), "the Body Social" (representations of the human body as a site of conflicting social values) and "Decoration vs. Abstraction" (hierarchical double standards with regard to "male" abstraction and "female" decorative arts), it will be shown how these differences in part reflect the shifting phases of modern feminist art, but more importantly signify the diverse multiplicity of modern feminist art.
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Feminist Art and the Avant-Garde, 2002.
A discussion of the emergence of radical feminist art and militant feminist artists of the 1970s.
2,025 words (approx. 8.1 pages), 9 sources, £ 49.95
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Abstract
Discusses emergence of radical feminist art & militant feminist artists of the 1970s. Work of Nancy Ellison, Alice Baber, Judy Chicago. Significant exhibitions including (Women Choose Women. Erotic Art by Women. Sexual Politics). Response & confrontation of the new avant-garde art. Major themes of 1970s feminist art. Political and aesthetic aspects.
From the Paper
"Feminist Art and the Avant-Garde
It has been noted that the artist-driven nature of radical art exhibitions that reigned by the late 1960s, when museum and gallery curators were increasingly usurping the role of the impresario, museums themselves were replacing galleries as venues, and formerly subversive artists were becoming ?tamed? by a ?society of mass consumption" (Altshuler, p. 220). While this statement is undoubtedly true, it is also true that with the emergence of radical feminist art and militant feminist artists in the 1970s, a new spirit of the avant-garde was born. The story of the avant-garde has typically been one of ?mutual support among a community and reception of art by a public, all participants enmeshed in systems of personal and economic relations (Altshuler, p. 8)."
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Feminist Art, 2002.
A study of the evolution of feminist art.
2,165 words (approx. 8.7 pages), 10 sources, APA, £ 46.95
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Abstract
This paper examines the political origins of feminist art in the 1960's and addresses the social climate that brought on the birth of the art movement. It describes the divisive nature of the feminist versus universal art debate. The paper argues that the civil rights movement in companion with feminist art has ceased to be a ?movement?. In addition, the paper describes art works of well know female artists of this era.
From the Paper
"Feminist art as a named movement evolved in the context of the late 1960?s early 1970?s political climate. The movement contextually cannot be separated from larger civil rights movements and specifically those relating to women; like the sexual revolution, the women?s liberation movement, and the formation and growth of groups like the National Organization for Women. Strictly speaking there can be no real separation of the feminist art movement from the civil rights movements in its context because so much of art of the era acted as the voice and vision of the messages of the movements as a whole. Though there are of coarse exceptions to this rule, art as a whole during this period was a demonstrative agent for social change and feminist art is definitely included in that context."
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Modern Feminist Art History, 2002.
This paper discusses key issues in the modern Feminist art movement.
3,400 words (approx. 13.6 pages), 6 sources, £ 86.95
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Abstract
The author of this essay evaluates several specific art pieces, and considers these in-relation to feminist theory and the feminist social movements of late 20th century society. The essay identifies feminist art as being UNdefined in style, medium, and representation, but wholly unified by political and social values that reflect a feminist investment in the image and role of women in art, and in society.
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Feminist Art and the Avant-Garde, 2002.
The paper traces the history of radical feminist art exhibitions and shows how this genre gave birth to a new spirit of avant-garde in the 1970s.
2,407 words (approx. 9.6 pages), 9 sources, MLA, £ 50.95
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Abstract
The paper looks at how the art exhibitions in the 1970s featured "women's art" that was inherently bound up with the protest movement politics of that time. The paper discusses the revolutionary nature of these early exhibitions and the historical impact of the selection process used in constructing these exhibitions. It also mentions the fact that modern feminist art tends to focus on lesbian artists exclusively.
From the Paper
"Less significant today is the question of ?who created it?
than what the creation means. Women artists with a radical feminist agenda are employing performance art much as Yoko Ono did some 35 or 40 years ago to publicize her own understanding of what it means to be a woman within a male-dominated social system and artistic milieu.
?Women Choose Women? was important not only because it was a ?first.? It was important because it demonstrated that women artists were no longer content to have males determine what works of theirs would be exhibited and how these exhibitions would be interpreted. Feminist art and scholarship have advanced significantly since that time."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, £ 30.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, £ 73.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Feminist and Anti-Feminist Films, 2005.
An analysis of the themes of male protection against male violence in the films, "Something Wild" and "Thelma and Louise".
742 words (approx. 3.0 pages), 5 sources, MLA, £ 18.95
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Abstract
This paper examines how good outlaws who are on the run from the law are a typical theme of American cinema and how both "Something Wild," directed by Jonathan Demme, and "Thelma and Louise," directed by Ridley Scott, are of the 'road movie' genre, which features the American myth of the open road and free and easy access to changing one's life through motion.
From the Paper
"Thus, both films deal with a problem-if feminism is about women's rights, what of women's rights if the law, for both men and women, is so often wrong. One reason both films provide different answers is that Something Wild involves a male and a female, while Thelma and Louise involves two females. Something Wild suggests that the female is only capable of full motion and movement on the open road in the presence of a male, while the plot of Thelma and Louise suggests that the road provides a potential means of escape for both men and women, and that the presence of men such as the cowboy/drifter of Brad Pitt can sunder female closeness."
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Art and Women, 2006.
A discussion regarding feminism and feminist issues in art.
900 words (approx. 3.6 pages), 2 sources, £ 24.95
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Abstract
This paper takes a look at how during the 1970s and 1980s, certain art critics sought to define women art through common features such as subject matter or use of technique. It further discusses how feminist art critics such as Lucy Lippard preferred the term female imagery while Eleanor Munro disliked that concept because of its sexual connotations. Female imagery had come to mean female sexual imagery which the male art establishment labeled as being feminist. Lippard states that female imagery was first used and should continue to be used to mean female sexual imagery.
From the Paper
"Why did some feminist art critics prefer to use the term sensibility rather than imagery? During the 1970s and 1980s, certain art critics sought to define women's art through common features such as subject matter or use of technique. Feminist art critics such as Lucy Lippard preferred the term 'female imagery', while Eleanor Munro disliked that concept because of its sexual connotations. Female imagery had come to mean female sexual imagery, which the male art establishment labeled as being feminist. Lippard (164) states that "female imagery was first used, and should continue to be used, to mean female sexual imagery".
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Gender Roles in African Royal Art, 2004.
This paper discusses the feminist interpretation of art from the Yoruban African society.
1,585 words (approx. 6.3 pages), 11 sources, MLA, £ 35.95
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Abstract
This paper explains the use of iconography, the study of images in search of the thoughts and meanings imbued by the artist and transmitted to the viewer, as applied to African royal art. The author points out that, in the Yoruba society, women have a distinct and celebrated role within the community, unlike Western societies. The paper stresses that the crown of the King of Yoruba may be interpreted as representing male power and dominance, but it may also be interpreted as a representation of the cooperative nature of ruling by both male and female within the Yoruba culture.
From the Paper
"The feminist slogan of ?the personal is political? became a banner under which Western women determined to change the social fabric - attacking the norms and mores that had excluded women from participation in all areas of living. The feminist definition of social roles was grounded in an affirmation of women's attributes and contributions, not just of social relations. The Yoruba form of social interaction was not based on individualism, as is the Western concept. ?The Yoruba Iyalode (also called Eiyelobinrin or ?mother of all women,?) was often the head of a lineage as well as, ?the woman designated as their political leader and spokesman in government?. Her title as ?chief? gave her jurisdiction over all women within her sphere of influence. She established courts and heard cases, creating a chain of authority that oversaw women's affairs, including the administration of the all-important markets."
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Realism and Expressionism in Art, 2007.
A comparison of realism and expressionism in the feminist art works of Kathe Kollwitz and Paula Modersohn-Becker.
1,326 words (approx. 5.3 pages), 8 sources, MLA, £ 30.95
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Abstract
This paper examines, compares and contrasts realism and expressionism in the works of Kathe Kollwitz and Paula Modersohn-Becker. It focuses on Modersohn-Becker's "Self-Portrait with Amber Necklace" and "Self Portrait on Her Sixth Wedding Anniversary" and Kathe Kollwitz's "Praying Girl" and "Small Self-Portrait". The paper shows how both artists comparably use a feminine self-expression, but they use differing variations of drawing and painting in their stylistic methods of art.
From the Paper
"The latest of the works that will be analyzed in this study will be the etched lithograph "Small Self Portrait" (1920) by Kathe Kollwitz. The grim countenance of the artist in this drawing reflects her old age, as well as a tired expression defining her life-long artistic commitment and loyalty to the working classes. This feminine image is not grandiose or tainted as are normative standards of beauty that were common in this period, and reveal the reality of an old woman who has seen a great many difficulties in life. In her life, she often sought out women models that reflected her "interest and sympathy for the hardships of the humble working women" (Prelinger 105). The hard lines of her face are depicted in the drawing, which connotes the hardship that she often wished to see in the working people in her community. In many cases, the dark lines and shadowing reflect the realist manner of clarity and proportion, which depict the essence of a clear-sighted view of the artist's presence. Often, this "reality" of her line and composition often dictated her desire to depict people as they appeared, not as an artist's own selfish distortion or beautification of life."
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, £ 30.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, £ 32.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, £ 61.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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