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Sexism is prejudice or discrimination based on one's sex or gender. Sexism can affect anyone, but it primarily affects women and girls. It has been linked to gender roles and stereotypes, and may include the belief that one sex or gender is intrinsically superior to another. Extreme sexism may foster misogyny, sexual harassment, rape, and other forms of sexual violence. Discrimination in this context is defined as discrimination toward people based on their gender identity or their gender or sex differences. A notable example of this is workplace inequality.
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."
Reverse sexism is a controversial term for discrimination against men and boys or for anti-male prejudice.
The Whitney Biennial is a biennial exhibition of contemporary American art, typically by young and lesser known artists, on display at the Whitney Museum of American Art in New York City, United States. The event began as an annual exhibition in 1932; the first biennial was in 1973. The Whitney show is generally regarded as one of the leading shows in the art world, often setting or leading trends in contemporary art. It helped bring artists like Georgia O'Keeffe, Jackson Pollock, and Jeff Koons to prominence.
Black feminism, also known as Afro-feminism chiefly outside the United States, is a branch of feminism that centers around women of color.
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 late 1960s and 1970s feminist movement. Feminist art highlights the societal and political differences women experience in their lives. The hopeful gain from this form of art is to bring a positive and understanding change to the world, in hope to lead 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 towards expanding the definition of art through the incorporation of new media and a new perspective.
Mira Schor is an American artist, writer, editor, and educator, known for her contributions to critical discourse on the status of painting in contemporary art and culture as well as to feminist art history and criticism.
Internalized sexism takes the form of sexist behaviors and attitudes enacted by women toward themselves or other women and girls. On a larger scale, internalized sexism falls under the broad topic of internalized oppression, which "consists of oppressive practices that continue to make the rounds even when members of the oppressor group are not present." Internalized sexism can cause a wide range of effects, for instance problems with one’s mental health and body image. Modes of internalization of sexism include early childhood inculturation and consumption of media, while language can also moderate power imbalances between groups and perpetuate internalized sexism.
Networked feminism is a phenomenon that can be described as the online mobilization and coordination of feminists in response to sexist, misogynistic, racist, and other discriminatory acts against minority groups. This phenomenon covers all possible definitions of what feminist movements may entail, as there have been multiple waves of feminist movements and there is no central authority to control what the term "feminism" claims to be. While one may hold a different opinion from another on the definition of "feminism", all those who believe in these movements and ideologies share the same goal of dismantling the current patriarchal social structure, where men hold primary power and higher social privileges above all others. Networked feminism is not spearheaded by one singular women's group. Rather, it is the manifestation of feminists' ability to leverage the internet to make traditionally unrepresented voices and viewpoints heard. Networked feminism occurs when social network sites such as Facebook, Twitter and Tumblr are used as a catalyst in the promotion of feminist equality and in response to sexism. Users of these social media websites promote the advancement of feminism using tools such as viral Facebook groups and hashtags. These tools are used to push gender equality and call attention to those promoting anything otherwise. Online feminist work is a new engine of contemporary feminism. With the possibility of connecting and communicating all around the world through the Internet, no other form of activism in history has brought together and empowered so many people to take action on a singular issue.
Feminist Digital Humanities is a more recent development in the field of Digital Humanities, a project incorporating digital and computational methods as part of its research methodology. Feminist Digital Humanities has risen partly because of recent criticism of the propensity of Digital Humanities to further patriarchal or hegemonic discourses in the Academy. Women are rapidly dominating social media in order to educate people about feminist growth and contributions. Research proves the rapid growth of Feminist Digital Humanities started during the post-feminism era around from the 1980s to 1990s. Such feminists’ works provides examples through the text technology, social conditions of literature and rhetorical analysis. Feminist Digital Humanities is aimed to identify and explore women's sense of writing as well as to prove widespread of women's work in most of the digital archive.
Hip hop feminism is a sub-set of black feminism that centers on intersectional subject positions involving race and gender in a way that acknowledges the contradictions in being a black feminist, such as black women's enjoyment in hip hop music and culture, rather than simply focusing on the victimization of black women in hip hop culture due to interlocking systems of oppressions involving race, class, and gender.
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.
Feminist aesthetics first emerged in the 1970s and refers not to a particular aesthetic or style but to perspectives that question assumptions in art and aesthetics concerning gender-role stereotypes, or gender. Feminist aesthetics has a relationship to philosophy. The historical philosophical views of what beauty, the arts, and sensory experiences are, relate to the idea of aesthetics. Aesthetics looks at styles of production. In particular, feminists argue that despite seeming neutral or inclusive, the way people think about art and aesthetics is influenced by gender roles. Feminist aesthetics is a tool for analyzing how art is understood using gendered issues. A person's gender identity affects the ways in which they perceive art and aesthetics because of their subject position and that perception is influenced by power. The ways in which people see art is also influenced by social values such as class and race. One's subject position in life changes the way art is perceived because of people's different knowledge's about life and experiences. In the way that feminist history unsettles traditional history, feminist aesthetics challenge philosophies of beauty, the arts and sensory experience.
Feminist art criticism emerged in the 1970s from the wider feminist movement as the critical examination of both visual representations of women in art and art produced by women. It continues to be a major field of art criticism.
Gender inequality is any situation in which people are not treated equally on the basis of gender. In the United Kingdom, women are disproproprionately impacted by economic policies and media treatment and face inequality in education and employment, including a persisent national gender pay gap. Furthermore, there exists a pervasive lad culture which has decreased the ability of women to participate in different parts of society.
Multiple jeopardy is the theory that the various factors of one's identity that lead to discrimination or oppression, such as gender, class, or race, have a multiplicative effect on the discrimination that person experiences. The term was coined by Dr. Deborah K. King in 1988 to account for the limitations of the double or triple jeopardy models of discrimination, which assert that every unique prejudice has an individual effect on one's status, and that the discrimination one experiences is the additive result of all of these prejudices. Under the model of multiple jeopardy, it is instead believed that these prejudices are interdependent and have a multiplicative relationship; for this reason, the "multiple" in its name refers not only to the various forms of prejudices that factor into one's discrimination but also to the relationship between these prejudices. King used the term in relation to multiple consciousness, or the ability of a victim of multiple forms of discrimination to perceive how those forms work together, to support the validity of the black feminist and other intersectional causes.
This is a Timeline of second-wave feminism, from its beginning in the mid-twentieth century, to the start of Third-wave feminism in the early 1990s.
Ad Hoc Committee of Women Artists or Ad Hoc Women Artists' Committee was founded in 1970 and included members from Women Artists in Revolution (WAR), the Art Workers' Coalition (AWC) and Women Students and Artists for Black Art Liberation (WSABAL). Founding members included Lucy Lippard, Poppy Johnson, Brenda Miller, Faith Ringgold and later, Nancy Spero.
The Collective of female comics creators against sexism, also known as BD Egalité, is a movement of female comics authors created to fight gender inequalities in comics publishing. Its creation was announced in September 2015. It gathered at the time 147 members and has since grown bigger.
References
- ↑ Plant, Jeanine (April 4, 2007). "Breaking Out of the Art World's Sexism". AlterNet.
- 1 2 3 Dumlao, Kaufmann, Mysliwiec, and Polashenski (Fall–Winter 2006). "The Cutting Edge and the Corporate Agenda". Women & Environments (72/73).
{{cite journal}}: CS1 maint: multiple names: authors list (link) - ↑ "Artnet News:ARTISTS PROTEST "GREATER NEW YORK"". ArtNet. March 15, 2005.
- Schor, Mira (2009). A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life. Duke University Press. pp. 40–41. ISBN 978-0822391418 – via Google Books.
- Zimmer, Amy (March 14, 2005). "Protesters: P.S.1 Art Show Biased Against Women". Metro. pp. 1, 6. - ↑ Davis, Ben (March 12, 2007). "White Walls, Glass Ceiling". Artnet.
- 1 2 3 Hoban, Phoebe (December 1, 2009). "The Feminist Evolution". ARTnews. Retrieved January 10, 2014.
- ↑ "Brainstormers" . Retrieved February 24, 2014.
- 1 2 3 Fry, Warren (November 10, 2008). "The Brainstormers". The Brooklyn Rail. Retrieved January 10, 2014.
- ↑ "Brainstormers Kindly Request That You Hand Over Your Balls". Art Fag City. July 30, 2009. Retrieved January 10, 2014.
- ↑ Schor, Mira (February 11, 2011). "A Feminist Tea Party". HuffPost. Retrieved March 21, 2014.
- ↑ McDonough, Yona Zeldis (August 2009). "On Being Brainstormers". NYFA Current.
- ↑ Vox Populi
- ↑ Art Fag City
- Danielle Mysliwiec, American University - ↑ "Elaine Kaufmann bio". www.elainekaufmann.net. Retrieved April 16, 2023.