Valie Export is an avant-garde Austrian artist. She is best known for provocative public performances and expanded cinema work. Her artistic work also includes video installations, computer animations, photography, sculpture and publications covering contemporary art.
Karen Finley is an American performance artist, musician, poet, and educator. The case, National Endowment for the Arts v. Finley (1998), argued in front of the U.S. Supreme Court, was decided against Finley and the other artists. Her performance art, recordings, and books are used as forms of activism. Her work frequently uses nudity and profanity. Finley incorporates depictions of sexuality, abuse, and disenfranchisement in her work. She is a professor at the Tisch School of the Arts at New York University.
Suzanne Lacy is an American artist, educator, writer, and professor at the USC Roski School of Art and Design. She has worked in a variety of media, including installation, video, performance, public art, photography, and art books, in which she focuses on "social themes and urban issues." She served in the education cabinet of Jerry Brown, then mayor of Oakland, California, and as arts commissioner for the city. She designed multiple educational programs beginning with her role as performance faculty at the Feminist Studio Workshop at the Woman's Building in Los Angeles.
Betty Beaumont is a Canadian-American site-specific and conceptual installation artist, sculptor, and photographer. She is an internationally recognized artist known to explore cross-disciplinary media, interweaving the environmental, social, economic, political, and the architectural. Beaumont lives and works in New York City.
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..
Miriam Schapiro was a Canadian-born artist based in the United States. She was a painter, sculptor, printmaker, and a pioneer of feminist art. She was also considered a leader of the Pattern and Decoration art movement. Schapiro's artwork blurs the line between fine art and craft. She incorporated craft elements into her paintings due to their association with women and femininity. Schapiro's work touches on the issue of feminism and art: especially in the aspect of feminism in relation to abstract art. Schapiro honed in her domesticated craft work and was able to create work that stood amongst the rest of the high art. These works represent Schapiro's identity as an artist working in the center of contemporary abstraction and simultaneously as a feminist being challenged to represent women's "consciousness" through imagery. She often used icons that are associated with women, such as hearts, floral decorations, geometric patterns, and the color pink. In the 1970s she made the hand fan, a typically small woman's object, heroic by painting it six feet by twelve feet. "The fan-shaped canvas, a powerful icon, gave Schapiro the opportunity to experiment … Out of this emerged a surface of textured coloristic complexity and opulence that formed the basis of her new personal style. The kimono, fans, houses, and hearts were the form into which she repeatedly poured her feelings and desires, her anxieties, and hopes".
Agnes Denes is a Hungarian-born American conceptual artist based in New York. She is known for works in a wide range of media—from poetry and philosophical writings to extremely detailed drawings, sculptures, and iconic land art works, such as Wheatfield — A Confrontation (1982), a two-acre field of wheat in downtown Manhattan, commissioned by the Public Art Fund, and Tree Mountain—A Living Time Capsule (1992–96) in Ylöjärvi, Finland. Her work Rice/Tree/Burial with Time Capsule (1968–79) is recognized as one of the earliest examples of ecological art. She lives and works in New York City.
The feminist art movement refers to the efforts and accomplishments of feminists internationally to produce art that reflects women's lives and experiences, as well as to change the foundation for the production and perception of contemporary art. It also seeks to bring more visibility to women within art history and art practice. The movement challenges the traditional hierarchy of arts over crafts, which views hard sculpture and painting as superior to the narrowly perceived 'women's work' of arts and crafts such as weaving, sewing, quilting and ceramics. Women artists have overturned the traditional view by, for example, using unconventional materials in soft sculptures, new techniques such as stuffing, hanging and draping, and for new purposes such as telling stories of their own life experiences. The objectives of the feminist art movement are thus to deconstruct the traditional hierarchies, represent women more fairly and to give more meaning to art. It helps construct a role for those who wish to challenge the mainstream narrative of the art world. Corresponding with general developments within feminism, and often including such self-organizing tactics as the consciousness-raising group, the movement began in the 1960s and flourished throughout the 1970s as an outgrowth of the so-called second wave of feminism. It has been called "the most influential international movement of any during the postwar period."
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.
Mary Miss is an American artist and designer. Her work has crossed boundaries between architecture, landscape architecture, engineering and urban design. Her installations are collaborative in nature: she has worked with scientists, historians, designers, and public administrators. She is primarily interested in how to engage the public in decoding their surrounding environment.
Ecofeminist art emerged in the 1970s in response to ecofeminist philosophy, that was particularly articulated by writers such as Carolyn Merchant, Val Plumwood, Donna Haraway, Starhawk, Greta Gaard, Karen J. Warren, and Rebecca Solnit. Those writers emphasized the significance of relationships of cultural dominance and ethics expressed as sexism (Haraway), spirituality (Starhawk), speciesism, capitalist values that privilege objectification and the importance of vegetarianism in these contexts (Gaard). The main issues Ecofeminism aims to address revolve around the effects of a "Eurocentric capitalist patriarchal culture built on the domination of nature, and the domination of woman 'as nature'. The writer Luke Martell in the Ecology and Society journal writes that 'women' and 'nature' are both victims of patriarchal abuse and "ideological products of the Enlightenment culture of control." Ecofeminism argues that we must become a part of nature, living with and among it. We must recognize that nature is alive and breathing and work against the passivity surrounding it that is synonymous with the passive roles enforced upon women by patriarchal culture, politics, and capitalism. Ecofeminist art is an art form that showcases the intersectionality that is present among gender, environmentalism, and social justice. It grabs ideas and concepts from the original term "ecofeminism" which was created to highlight the parallels between the historic oppression and exploitation of both women and the environment. This style of art can be presented in many different mediums including performance art, original literature pieces, and visual art displays. In simpler terms, ecofeminist artwork is environmental art that has been created by a woman who values gender equality and stronger representation of nature.
Amanda Heng Liang Ngim is a contemporary artist, curator and speaker from Singapore, who works in Singapore and internationally. As an artist she has a multidisciplinary practice, working collaboratively in contemporary art exhibitions, performance, forums, workshops and art interventions. Her practice explores themes of national identity, collective memory and social relationships, gender politics and other social issues in urban, contemporary Singaporean society. She is the recipient of the 2019 Singapore Biennale's Benesse Prize.
Yin Xiuzhen is a Chinese sculpture and installation artist. She incorporates used textiles and keepsakes from her childhood in Beijing to show the connection between memory and cultural identity. She has also employed pots and pans, wooden chests, suitcases and cement in her work. She studied oil painting in the Fine Arts Department of Capital Normal University, then called Beijing Normal Academy, in Beijing from 1985 to 1989. After graduation, Yin taught at the high school attached to the Central Academy of Fine Arts in Beijing, until her exhibition schedule became too demanding. Her work has been described by Phyllis Teo as “possessing human warmth, intimacy, and a sense of nostalgia which propels introspection of one's self—traditions, emotions, and beliefs. Thus, creating of a sense of community and belonging within the audience .”
Leslie Labowitz-Starus is an American performance artist and urban farmer based in Los Angeles.
Imna Arroyo is a Puerto Rican artist. Her work is centered on printmaking and painting, particularly around the theme of "energia de mujeres", or "women's energy".
Jo Hanson (1918–2007) was an American environmental artist and activist. She lived in San Francisco, California. She was known for using urban trash to create works of art.
Lenka Clayton is a British-American conceptual artist and educator based in Pittsburgh. Her work contemplates, exaggerates and defamiliarizes accepted rules and practices of everyday life, extending the ordinary to the poetic and absurd. Her works spans and expands upon many disciplines including film, video, performance, fibers, drawing and writing. Clayton has exhibited her art nationally and internationally.
Chen Ke is a Chinese artist. She currently lives and works in Beijing. Having participated in numerous international and domestic exhibitions, Chen Ke has worked in a variety of media, including painting, sculpture and fashion design. Chen Ke is recognized as the most representative artist of the New Generation of Cartoon of China.
Sabra Moore is an American artist, writer, and activist. Her artwork is based on re-interpreting family, social, and natural history through the form of artist's books, sewn and constructed sculptures and paintings, and installations.
Keepers of the Waters is a nonprofit organisation that focuses on water activism. It was founded by Betsy Damon, an artist and environmental activist, in 1991 with the assistance of the Hubert Humphrey Institute. The organization encourages "art, science, and community projects for the understanding and remediation of living water systems." As part of this initiative, Damon, assisted by Chengdu-based artist Dai Guanyu, organized two large-scale public events in Chengdu in China and Lhasa in Tibet in 1995 and 1996, respectively, where they invited local and international artists, such as Song Dong, Yin Xiuzhen, Dai Guanyu, and Zhang Shengquan to create new works that respond to the major rivers in these cities. These events featured works that are collaborative, participatory, community-driven, and engaging with the land. They therefore provide a different perspective to the art historical canon about performance art in China in the 1990s, which had mainly focused on individual performances by male artists who created performances indoors.
