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Judy Chicago is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. During the 1970s, Chicago founded the first feminist art program in the United States at California State University, Fresno which acted as a catalyst for feminist art and art education during the 1970s. Her inclusion in hundreds of publications in various areas of the world showcases her influence in the worldwide art community. Additionally, many of her books have been published in other countries, making her work more accessible to international readers. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. The Dinner Party celebrates the accomplishments of women throughout history and is widely regarded as the first epic feminist artwork. Other notable art projects by Chicago include International Honor Quilt, Birth Project, Powerplay, and The Holocaust Project. She is represented by Jessica Silverman gallery.
Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985, born out of a picket against the Museum of Modern Art the previous year. The core of the group's work is bringing gender and racial inequality into focus within the greater arts community and society at large. The Guerrilla Girls employ culture jamming in the form of posters, books, billboards, lectures, interviews, public appearances and internet interventions to expose disparities, discrimination, and corruption. They also often use humor in their work to make their serious messages engaging. The Guerrilla Girls are known for their "guerrilla" tactics, hence their name, such as hanging up posters or staging surprise exhibitions. To remain anonymous, members don gorilla masks. To permit individual identities in interviews, they use pseudonyms that refer to deceased female artists such as Frida Kahlo, Käthe Kollwitz, and Alice Neel, as well as writers and activists, such as Gertrude Stein and Harriet Tubman. According to GG1, identities are concealed because issues matter more than individual identities, "Mainly, we wanted the focus to be on the issues, not on our personalities or our own work."
The Dinner Party is an installation artwork by American feminist artist Judy Chicago. There are 39 elaborate place settings on a triangular table for 39 mythical and historical famous women. Sacajawea, Sojourner Truth, Eleanor of Aquitaine, Empress Theodora of Byzantium, Virginia Woolf, Susan B. Anthony, and Georgia O'Keeffe are among the symbolic guests.
The Woman's Building was a non-profit arts and education center located in Los Angeles, California. The Woman's Building focused on feminist art and served as a venue for the women's movement and was spearheaded by artist Judy Chicago, graphic designer Sheila Levrant de Bretteville and art historian Arlene Raven. The center was open from 1973 until 1991. During its existence, the Los Angeles Times called the Woman's Building a "feminist mecca."
The feminist art movement in the United States began in the early 1970s and sought to promote the study, creation, understanding and promotion of women's art. First-generation feminist artists include Judy Chicago, Miriam Schapiro, Suzanne Lacy, Judith Bernstein, Sheila de Bretteville, Mary Beth Edelson, Carolee Schneeman, Rachel Rosenthal, and many other women. They were part of the Feminist art movement in the United States in the early 1970s to develop feminist writing and art. The movement spread quickly through museum protests in both New York and Los Angeles, via an early network called W.E.B. that disseminated news of feminist art activities from 1971 to 1973 in a nationally circulated newsletter, and at conferences such as the West Coast Women's Artists Conference held at California Institute of the Arts and the Conference of Women in the Visual Arts, at the Corcoran School of Art in Washington, D.C..
Feminist art is a category of art associated with the feminist movement of the late 1960s and 1970s. Feminist art highlights the societal and political differences women experience in their lives. The goal of this art form is to bring a positive and understanding change to the world, leading to equality or liberation. Media used range from traditional art forms, such as painting, to more unorthodox methods such as performance art, conceptual art, body art, craftivism, video, film, and fiber art. Feminist art has served as an innovative driving force toward expanding the definition of art by incorporating new media and a new perspective.
Australian feminist art timeline lists exhibitions, artists, artworks and milestones that have contributed to discussion and development of feminist art in Australia. The timeline focuses on the impact of feminism on Australian contemporary art. It was initiated by Daine Singer for The View From Here: 19 Perspectives on Feminism, an exhibition and publishing project held at West Space as part of the 2010 Next Wave Festival.
Lesbian feminist art activist collective fierce pussy was founded in 1991 in New York City. It is committed to art action in association with the AIDS Coalition to Unleash Power. The group uses lower case letters for their name in part because it is non-hierarchical. fierce pussy, as a collective, speaks of themselves as a singular person. This is consistent in an interview on their 2018-19 window installation at the Leslie-Lohman Museum of Art. In the interview, fierce pussy states that "you don't need to refer to us as individual artists, all responses from our side are by fierce pussy. We are fierce pussy."
"Where We At" Black Women Artists, Inc. (WWA) was a collective of Black women artists affiliated with the Black Arts Movement of the 1960s and 1970s. It included artists such as Dindga McCannon, Kay Brown, Faith Ringgold, Carol Blank, Jerri Crooks, Charlotte Kâ (Richardson), and Gylbert Coker. Where We At was formed in the spring of 1971, in the wake of an exhibition of the same name organized by 14 Black women artists at the Acts of Art Gallery in Greenwich Village. Themes such as the unity of the Black family, Black female independence and embodiment, Black male-female relationships, contemporary social conditions, and African traditions were central to the work of the WWA artists. The group was intended to serve as a source of empowerment for African-American women, providing a means for them to control their self-representation and to explore issues of Black women's sensibility and aesthetics. Like AfriCobra, a Chicago-based Black Arts group, the WWA was active in fostering art within the African-American community and used it as a tool of awareness and liberation. The group organized workshops in schools, jails and prisons, hospitals, and cultural centers, as well as art classes for youth in their communities.
The tART Collective was an intersectional feminist and anti-racist art collective in New York City. Founded in 2004 and was running until January 2020 when the group announced its decision to end tART Collective, the group was the longest-running feminist art collective in the city. This group was created to help show support towards feminist content artists. During the years that tART was active, membership rose to two dozen members locally and internationally, and the collective served as a post-graduate plan for artists.
Mary Beth Edelson was an American artist and pioneer of the feminist art movement, deemed one of the notable "first-generation feminist artists". Edelson was a printmaker, book artist, collage artist, painter, photographer, performance artist, and author. Her works have been shown at the Museum of Modern Art, the Smithsonian American Art Museum, and the Museum of Contemporary Art in Chicago.
Women's Art Resources of Minnesota (WARM) is a women's art organization based in the U.S. state of Minnesota. It was founded in 1976 as Women's Art Registry of Minnesota, a feminist artist collective. The organization ran the influential WARM Gallery in downtown Minneapolis from 1976 to 1991.
Miranda Bergman is an American contemporary muralist born in 1947 and grew up in grew up in the San Francisco Mission District where she attended Balboa High School. Bergman is known for of the seven women artists who in 1994 created the MaestraPeace mural, the largest mural in San Francisco, which covers The Women's Building. Most of the murals created/co-created by Bergman straddles artistry and social activism, giving her a space to express both social struggles and cultural celebrations. She now lives in Oakland.
Lip, A Feminist Arts Journal, or just Lip, was an Australian interdisciplinary feminist art journal, published between 1976 and 1984. It was the first of its kind in Australia.
Sherry Farrell Racette is a First Nations feminist scholar, author, curator, and artist. She is best known for her contributions to Indigenous and Canadian art histories. She is currently an associate professor of Visual Arts at the University of Regina.
Lilith is an 1887 painting by English artist John Collier, who worked in the style of the Pre-Raphaelite Brotherhood. The painting of the Jewish mythic figure Lilith is held in the Atkinson Art Gallery in Southport, England. It was transferred from Bootle Art Gallery in the 1970s.
Monica Ross (1950–2013) was a British artist, academic, and feminist. Her career producing feminist works spanned four decades. She is notable particularly for her contributions to performance art, which reflected her passion for social change and were displayed in such diverse places as public libraries and Greenham Common. These works were often collaborative, with Ross contributing to the establishment both of the seminal Women's Postal Art Event and Sister Seven. The culminating work of her career and life was Anniversary – an act of memory: solo, collective and multi-lingual recitations from memory of the Universal Declaration of Human Rights, a 5-year extended performance work which involved the recitation of the Universal Declaration of Human Rights by heart. Ross also worked in video, drawing, installation, and text.
The Women and Leadership Archives is an archives in Chicago, Illinois. Located on the Campus of Loyola University Chicago. Established in 1994, the Women and Leadership Archives (WLA) collects and makes available permanently valuable records of women and women's organizations, which document women's lives, roles, and contributions. Organizationally, the WLA is part of both the Ann Ida Gannon, BVM, Center for Women and Leadership, and part of Loyola University Chicago's Library system.
Toni Robertson is a visual artist, art historian and printmaker from Sydney, Australia. She is known for her poster making and involvement in the Earthworks Poster Collective, which operated out of the "Tin Shed" art workshops at the University of Sydney.
See Red Women's Workshop was a collective screen printing studio which operated between 1974 and 1990 in London, England. The printing studio was run by a feminist collective and produced material that aimed to combat sexist images of women and contribute towards the visual culture of the Women's Liberation Movement. The workshop was founded by Pru Stevenson, Julia Franco and Suzy Mackie. Over 16 years, more than 40 women joined the workshop. They produced a range of printed material, primarily posters, as well as calendars and t-shirts.
References
- 1 2 3 4 5 6 7 Margolin, Victor (1992). "SisterSerpents: A Radical Feminist Art Collective". AIGA Journal of Graphic Design. Vol. 10, no. 2.
- ↑ "Sister Serpents & Others". Mary Ellen Croteau. Retrieved 2018-03-05.
- 1 2 3 4 5 6 George, Erika (March 12, 1991). "Hissing with anger: SisterSerpents exhibit art". The Chicago Maroon.
- 1 2 3 "SisterSerpents Strike Abortion Foes". New Directions for Women. January–February 1990. p. 11.
- 1 2 3 4 Bradley, Amanda (February 26, 1991). "Serpentine artists hiss at misogyny". The Daily Northwestern.
- 1 2 3 Stamets, Bill (February 22, 1991). "Art Facts: SisterSerpents' war against dickheads". Chicago Reader. Vol. 20, no. 20.
- 1 2 3 4 Murphy, Laurl L. (February 10, 1993). "Radical Feminists SisterSerpents Piss on Patriarchy". CU-Denver Advocate.
- 1 2 3 Raven, Arlene (July 1990). "Sister Serpent Speaks". Village Voice.
- 1 2 Stevenson, John (April 4–10, 1990). "SisterSerpents' hiss and hers". In These Times.
- 1 2 3 Stamets, Bill (April 1991). "SisterSerpents". New Art Examiner.
- ↑ Sama, Robert (March 8, 1991). "Sister Serpents' "Art"". The Charred Phoenix. Vol. 1, no. 1.
- ↑ "SisterSerpents – Art as Activism | Women and Leadership Archives". blogs.lib.luc.edu. Retrieved 2018-03-05.
- ↑ Holbert, Ginny (July 20, 1990). "Radical feminist artists' show is funky, scrappy and crude". Chicago Sun-Times. p. 71.
- ↑ "Artwork · SisterSerpents: Art as a Weapon · SisterSerpents: Art as a Weapon". ssfeministart.omeka.net. Retrieved 2018-03-05.
