Related Research Articles
The Young British Artists, or YBAs—also referred to as Brit artists and Britart—is a loose group of visual artists who first began to exhibit together in London in 1988. Many of the YBA artists graduated from the BA Fine Art course at Goldsmiths, in the late 1980s, whereas some from the group had trained at Royal College of Art.
Dame Tracey Karima Emin is an English artist known for autobiographical and confessional artwork. She produces work in a variety of media including drawing, painting, sculpture, film, photography, neon text and sewn appliqué. Once the "enfant terrible" of the Young British Artists in the 1980s, Tracey Emin is now a Royal Academician.
Écriture féminine, or "women's writing", is a term coined by French feminist and literary theorist Hélène Cixous in her 1975 essay "The Laugh of the Medusa". Cixous aimed to establish a genre of literary writing that deviates from traditional masculine styles of writing, one which examines the relationship between the cultural and psychological inscription of the female body and female difference in language and text. This strand of feminist literary theory originated in France in the early 1970s through the works of Cixous and other theorists including Luce Irigaray, Chantal Chawaf, Catherine Clément and Julia Kristeva, and has subsequently been expanded upon by writers such as psychoanalytic theorist Bracha Ettinger. who emerged in this field in the early 1990s,
Confessional writing is a literary style and genre that developed in American writing schools following the Second World War. A prominent mode of confessional writing is confessional poetry, which emerged in the 1950s and 1960s. Confessional writing is often historically associated with Postmodernism due to the features which the modes share: including self-performativity and self-reflexivity; discussions of culturally taboo subjects; and the literary influences of personal conflict and historical trauma. Confessional writing also has historical origins in Catholic confessional practices. As such, confessional writing is congruent with psychoanalytic literary criticism. Confessional writing is also a form of life writing, especially through the autobiography form.
Sarah Lucas is an English artist. She is part of the generation of Young British Artists who emerged in 1988. Her works frequently employ visual puns and bawdy humour by incorporating photography, sculpture, collage and found objects.
Fiber art refers to fine art whose material consists of natural or synthetic fiber and other components, such as fabric or yarn. It focuses on the materials and on the manual labor on the part of the artist as part of the works' significance, and prioritizes aesthetic value over utility.
Amelia Jones, originally from Durham, North Carolina, is an American art historian, art theorist, art critic, author, professor and curator. Her research specialisms include feminist art, body art, performance art, video art, identity politics, and New York Dada. Jones's earliest work established her as a feminist scholar and curator, including through a pioneering exhibition and publication concerning the art of Judy Chicago; later, she broadened her focus on other social activist topics including race, class and identity politics. Jones has contributed significantly to the study of art and performance as a teacher, researcher, and activist.
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.
Griselda Frances Sinclair Pollock is an art historian and cultural analyst of international, postcolonial feminist studies in visual arts and visual culture. Since 1977, Pollock has been an influential scholar of modern art, avant-garde art, postmodern art, and contemporary art. She is a major influence in feminist theory, feminist art history, and gender studies. She is renowned for her innovative feminist approaches to art history which aim to deconstruct the lack of appreciation and importance of women in art as other than objects for the male gaze.
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."
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.
Miriam Schaer is an American artist who creates artists' books, and installations, prints, collage, photography, and video in relation to artists' books. She also is a teacher of the subject.
Elizabeth MacKenzie is a Canadian artist based in Vancouver known for her drawing, installation and video since the early eighties. MacKenzie uses drawing to explore the productive aspects of uncertainty through the use of repetition, interrogations of portraiture and considerations of intersubjective experience. Her work has been characterized by an interest in maternal ambivalence, monstrous bodies, interrogations of portraiture and considerations of the complexity of familial and other interpersonal relations.
Kate Just is an American-born Australian feminist artist. Just is best known for her inventive and political use of knitting, both in sculptural and pictorial form. In addition to her solo practice, Just often works socially and collaboratively within communities to create large scale, public art projects that tackle significant social issues including sexual harassment and violence against women.
Natalie King is an Australian curator and writer working in Melbourne, Australia. She specializes in Australian and international programs for contemporary art and visual culture. This includes exhibitions, publications, workshops, lectures and cultural partnerships across contemporary art and indigenous culture.
Jennifer Watson is an Australian artist known for her paintings that combine text and images.
Lynda Nead is a British curator and art historian. She is currently the Pevsner Chair of the History of Art at Birkbeck, University of London. Nead's work studies British art, media, culture and often focuses on gender. Nead is a fellow of the British Academy, the Royal Historical Society and of the Academia Europaea.
Global Feminisms was a feminist art exhibition that originally premiered at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, New York City, United States, in March 2007. The exhibition was co-curated by Maura Reilly and Linda Nochlin and consists of work by 88 women artists from 62 countries. Global Feminisms showcased art across many mediums, all trying to answer the question "what is feminist art?". The show was visually anchored by the installation of Judy Chicago's The Dinner Party.
Rosa Lee (1957–2009) was a Hong Kong-born British painter, teacher and writer. She was known for her layered and textured paintings created using oil and wax and constructed using lace-like stencils and spray through paper doilies. “Lee’s paintings demand a shifting of critical categories towards a re-evaluation of the ‘merely’ decorative in painting.”
References
- ↑ "Author: Rosemary Betterton". The Egg, TheWomb, The Head and The Moon. 7 April 2014. Retrieved 20 April 2018.
- ↑ "Library of Congress Authorities: Betterton, Rosemary". Library of Congress. Retrieved 3 May 2018.
- ↑ Schmahmann, Brenda (2007). "Figuring maternity: Christine Dixie's Parturient Prospects" (PDF). De Arte. 42 (75): 25. doi:10.1080/00043389.2007.11877068. S2CID 147495152 . Retrieved 4 May 2018.
- ↑ Pollock, Griselda, ed. (1996). Generations and Geographies in the Visual Arts: Feminist Readings. Routledge. p. x. ISBN 978-0415141284 . Retrieved 26 April 2018.
- ↑ Florence, Penny; Foster Nicola (2001). Differential Aesthetics: Art Practices, Philosophy and Feminist Understandings. Ashgate Pub Ltd. pp. xiii. ISBN 978-0754614937 . Retrieved 25 April 2018.
- 1 2 "Rosemary Betterton: Emeritus Professor". Lancaster University. Retrieved 20 April 2018.
- ↑ Rye, Gill, ed. (2017). Motherhood in Literature and Culture: Interdisciplinary Perspectives from Europe. Routledge. p. xi. ISBN 9781138648173 . Retrieved 3 May 2018.
- ↑ Grimsby, Kari. "An Intimate Distance: Review of Women, Artists and The Body". Women Artists News Book Review. 22 (Spring 1997): 55.
- ↑ Battalion, Judy (December 2016). "Book Review: Maternal Bodies in the Visual Arts". Oxford Art Journal. 39 (3): 481–485. Retrieved 26 April 2018.
- ↑ Kill, Rebekka (May 2005). "Book Review: Unframed: Practices & Politics of Women's Contemporary Painting". The Art Book. 12 (2): 33–34. doi:10.1111/j.1467-8357.2005.00532.x . Retrieved 3 May 2018.
- ↑ Staats, Marian (1998). "A.R.T. and Artists: Feminist Body Theory. Review of An Intimate Distance". Jouvert: A Journal of Post-colonial Studies. 2 (2). Retrieved 27 April 2018.
- ↑ Williams, Linda (1990). "Review: Looking on: Images of Femininity in the Visual Arts and Media". Film Quarterly. 43 (4): 56. doi:10.2307/1212749. JSTOR 1212749.
- ↑ Johnson, Clare (2013). Femininity, Time and Feminist Art. Palgrave Macmillan. pp. 37, 57. ISBN 978-0230298484 . Retrieved 25 April 2018.
| International | |
|---|---|
| National | |
| Other | |
 | This article about a British historian or genealogist is a stub. You can help Wikipedia by expanding it. |