Guerrilla Girls, When Racism & Sexism are No Longer Fashionable, What Volition Your Art Collection Be Worth?, 1989, first lithograph in blackness on wove paper, Gift of the Gallery Girls in support of the Guerrilla Girls, 2007.101.half-dozen
How is feminism expressed? What forms does feminism take on a personal level (by an private) or on a larger scale (by a club)?
How does gender inequality intersect with injustices related to race, ethnicity, religion, age, or other markers of identity (visible or invisible)?
What tactics have artists used to confront gender inequality?
The Guerrilla Girls is an activist group formed in 1985 whose members are female artists, curators, and writers. Their work focuses attending on gender and racial discrimination in the art globe through demonstrations, performances, and "public service messages." When Racism & Sexism are No Longer Fashionable, What Will Your Fine art Collection Exist Worth? (1989) comments on the fact that many Usa museums take been built their collections around the work of white, male artists. The text suggests that their work has been overvalued—in the art market and culturally—while female artists and artists of colour take been undervalued. Some other work, The Advantages of Being a Adult female Artist (1988) describes the frustrations and ironies of trying to succeed in a globe that does not value your contributions. Using humor and data, it points to the systemic gender and racial bias in the works audiences come across in museum collections.
During the late 1960s and 1970s, women in the United states of america mobilized to need gender equality in their civic, educational, home, and professional lives. The women's move was part of a climate of social activism and questioning inspired past the civil rights movement and, later, by protests against the Vietnam War. The social activism of the menses extended to the art world, as female person artists began to face and defy long-continuing biases and traditional gender roles that had express their careers.
Women in the art world were galvanized past a now-famous 1971 essay, "Why Have There Been No Great Women Artists?" by Linda Nochlin. She argued that the real issue was not that there were no great women artists, simply rather that they were historically invisible, unknown, and fewer in number than men because of systematic obstruction to education, patronage, and opportunities to showroom art. Nochlin's essay led to new research resulting in the rediscovery of many long-forgotten women artists, a process that continues to this day.
While the 1970s contained many watershed moments in the women'south motion, incremental modify has occurred over centuries. Enquiry shows that female artists working prior to that fourth dimension, during the 19th and 20th centuries, pioneered new forms and materials with which to express their ideas. They created works that gradually broadened the possibilities for fine art and its audiences, although their achievements sometimes took decades to register with mainstream civilisation. The widespread recognition of the work of female artists has accelerated as they continue to produce works that complicate and challenge our understandings of gender, identity, empowerment, and expression. From the innovative and powerful abstruse paintings of Joan Mitchell and Alma Thomas, such as Salut Tom (1979) and Tiptoe Through the Tulips (1969), accorded recognition relatively tardily in each artist's career; to Betye Saar's tiny sculpture, Twilight Awakening (1978), which offers a reimagined and potent mythology with a Blackness protagonist; to Rozeal's afro.died, T. (2011), a brew-upward of civilisation and concepts of female person dazzler—their art conforms to no expectations.
Women and Art
Samuel Masury,
Frances Clayton , c. 1865, albumen print (bill of fare-de-visite), National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund, 2019.97.2
The American Civil War (1861–1865) was ane of the commencement armed conflicts documented by photography. Soldiers frequently had portraits made of themselves earlier they reported for duty. Such images, often produced in multiples approximately the size of a credit card, were small, portable, and cheap—ideal for sharing with loved ones. This photograph, taken in Samuel Masury's Boston-based studio, is of Frances Clayton, a Minnesotan farmer and newly enlisted soldier; she is photographed in a Union army uniform. Clayton disguised her sex activity in order to join the regular army, which prohibited women from serving. It is thought that she served in a Missouri regiment aslope her husband, who died in battle. In the The states, women were not permitted to enlist in the military until 1917, during the last years of Earth War I. What does this image reveal to u.s. nearly gender in the belatedly 19th century? What ideas of gender are debated in the context of the military today?
Women and Art
Samuel Masury, Frances Clayton , c. 1865, albumen print (carte du jour-de-visite), National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund, 2019.97.1
The American Civil State of war (1861–1865) was ane of the showtime armed conflicts documented past photography. Soldiers oft had portraits made of themselves earlier they reported for duty. Such images, often produced in multiples approximately the size of a credit card, were minor, portable, and inexpensive—platonic for sharing with loved ones. This photograph, taken in Samuel Masury's Boston-based studio, is of Frances Clayton, a Minnesotan farmer and newly enlisted soldier; she is photographed in a female gender-conforming clothes. Clayton disguised her sexual practice in order to join the army, which prohibited women from serving. It is idea that she served in a Missouri regiment alongside her married man, who died in battle. In the United States, women were not permitted to enlist in the military until 1917, during the last years of World War I. What does this image reveal to us about gender in the belatedly 19th century? What ideas of gender are debated in the context of the military today?
Women and Art
Mary Cassatt, Woman with a Sunflower, c. 1905, oil on sail, National Gallery of Art, Washington, Chester Dale Drove, 1963.x.98
In this painting, Mary Cassatt pictures a female parent and child in an intimate domestic scene, maybe in the mother's bedroom. The daughter's nudity suggests that she may exist fresh from her bath. The mother gently supports the child's shoulder with 1 mitt, property upward a paw mirror to the child with the other. Notice the multiple reflections produced by the mirrors, and how the artist repeats shapes, forms, and colors in the painting. Yous may likewise observe the large sunflower pinned to the woman'due south dress, most at the heart of the painting: it is an emblem associated with the American women suffragist movement. The sunflower appeared on a suffragist badge advocating for women'due south right to vote in the presidential election of 1904—about a twelvemonth before this painting was made. Mary Cassatt was one of but three women (and the simply American) to exhibit with the French impressionist painters. This influential art movement developed in Paris in the 1860s; the discussion "impression" described the artists' intention of capturing moments from everyday life. How might the point of view of a female person creative person at this fourth dimension bear on her representation of everyday life?
Women and Fine art
Anna Hyatt Huntington, Yawning Tiger, c. 1917, statuary, National Gallery of Art, Washington, Corcoran Collection (Gift of the artist), 2015.19.3666
Anna Hyatt Huntington is best known for statuary statuettes of exotic animals. The New York Zoological Park (at present the Bronx Zoo) provided the artist with ready models and she challenged herself to capture the animals in motion, expressing their typical beliefs, gait, or posture. Brute sculptures became the mainstay of her career, and she sold numerous casts showtime to individual collectors and eventually to major museums. Her ambitions grew with her success and she won a committee from New York Urban center for a awe-inspiring equestrian statue of Joan of Arc, a popular symbol of female forcefulness, independence, and suffrage. (The memorial remains on view in Riverside Park today.)
Women and Art
Anna Hyatt Huntington, Elephant Running , due north.d., bronze, National Gallery of Art, Washington, Corcoran Collection (Gift of the artist), 2015.19.3668
Anna Hyatt Huntington is best known for bronze statuettes of exotic animals. The New York Zoological Park (now the Bronx Zoo) provided the creative person with set models and she challenged herself to capture the animals in motion, expressing their typical beliefs, gait, or posture. Animal sculptures became the mainstay of her career, and she sold numerous casts first to individual collectors and eventually to major museums. Her ambitions grew with her success and she won a commission from New York City for a monumental equestrian statue of Joan of Arc, a pop symbol of female strength, independence, and suffrage. (The memorial remains on view in Riverside Park today.)
Women and Fine art
Anna Hyatt Huntington, Head of My Female parent , n.d., marble, National Gallery of Fine art, Washington, Corcoran Collection (Souvenir of the artist), 2015.19.3669
Anna Hyatt Huntington is best known for bronze statuettes of exotic animals. The New York Zoological Park (at present the Bronx Zoo) provided the artist with gear up models and she challenged herself to capture the animals in motion, expressing their typical behavior, gait, or posture. Animate being sculptures became the mainstay of her career, and she sold numerous casts get-go to individual collectors and eventually to major museums. Her ambitions grew with her success and she won a commission from New York City for a monumental equestrian statue of Joan of Arc, a pop symbol of female force, independence, and suffrage. (The memorial remains on view in Riverside Park today.)
Huntington occasionally turned to more personal projects, as represented by this sensitive and dignified marble bust of her mother, Audella Beebe Hyatt (1840–1932). Audella was also an artist and encouraged Anna's artistic talents. Sculptural busts of elder women are significantly less frequent than those of elder men.
Women and Fine art
Cecilia Beaux, Sita and Sarita, c. 1921, oil on canvas, National Gallery of Art, Washington, Corcoran Collection (Museum Buy, William A. Clark Fund), 2014.79.1
Cecilia Beaux pictures her cousin Sarah (identified with the Spanish derivation of her given name, Sarita) seated on a sofa with her feline companion, Sita (Spanish for "niggling one"), in a moment of repose and reflection. Y'all can imagine the cat's slight weight on the woman's shoulder, soft fur brushing her ear, while she absently reaches up to scratch the true cat in turn. The understanding between the woman and her pet is underscored by the play of their names also equally their two sets of optics in alignment: the true cat looks out at the states, while Sarita's gaze is afar. Pilus and fur pelt—sleeky and dark—too blend together. The portrayal of a relaxed and intimate moment at home suggests a level of trust between the 2 women, sitter and painter. Beaux was a successful independent portraitist, among the few self-supporting women artists of the early on 20th century. She traveled to Europe to pursue artistic grooming, spending time in Kingdom of spain as well equally French republic and England. What words would y'all use to describe the subject of this painting? Would you identify this work as an human action of feminism? Why or why not?
Women and Art
Elizabeth Catlett, Untitled (Harriet Tubman) , 1953, linocut, National Gallery of Art, Washington, Reba and Dave Williams Collection, Florian Carr Fund and Gift of the Impress Enquiry Foundation, 2008.115.37
Elizabeth Catlett created this commanding image of Harriet Tubman (built-in Araminta Ross, c. 1820–1913), the Underground Railroad usher and abolitionist, pointing the way to freedom. Discover how the outsize effigy of Tubman dominates the image, and how the bold and energetic blackness lines of the impress suggest the perilous, fraught conditions Tubman and those nether her protection navigated.
Catlett, who was the granddaughter of people who were enslaved, ofttimes focused on issues of Black and women's history in her fine art. Her artistic influences included the social activism of Mexican muralists Diego Rivera and José Clemente Orozco, which she learned virtually every bit a educatee at Howard University in Washington, DC. Another instructor, the American painter Grant Forest, encouraged her to depict upon what she knew best. "Of course, it was my own people," she noted.
At the fourth dimension Catlett made this work, the civil rights motion was gaining ground in the United States. Why might Catlett have chosen to draw Harriet Tubman? What do Catlett's creative choices reveal about her perception of Tubman?
Women and Art
Eileen Knox, Sampler , c. 1941, watercolor, graphite, and gouache on paperboard, National Gallery of Art, Washington, Index of American Pattern, 1943.8.26
This cartoon depicts an instance of needlework from the late 19th century. Immature women made samplers to practice needle arts and to demonstrate dissimilar embroidery stitches. If you enlarge the cartoon (which is colored with gouache paint), you will see that it is so fine and realistic that information technology about appears to be a photograph. The sampler includes a brick house, likely the xiv-yr-quondam maker'due south dwelling house, and a quote from 18th-century English poet Alexander Pope (with some incomplete letters): "Teach me to feel another'southward woe / To hibernate the mistake I run into / In mercy I to Others evidence / That Mercy shows to me."
This piece of work is part of the Index of American Blueprint (IAD), a body of 18,000 drawings that relate the history of American decorative art, folk fine art, and craft objects from the 17th century until nearly the turn of the 20th century. The IAD was a project of the Works Progress Administration (WPA), created during the Depression to provide employment to out-of-work people, including artists. There was a college proportion of women working in the IAD projection than in other federal art programs at the time, possibly indicating greater opportunity for women illustrators. These jobs were a small portion of the total WPA jobs created, the great majority of which were available in construction, building roads and infrastructure, and largely reserved for men.
Are there any activities in your own life that are viewed as belonging to a specific gender? How practise you feel about this perception? If women artists were to continue to add work to the IAD today, how might the subject field affair compare to these works of art?
Women and Fine art
Frank Maurer (artist), Thomaszine Downing Woodward (object maker), Sampler , 1935/1942, watercolor, gouache, and graphite on paper, National Gallery of Art, Washington, Index of American Design, 1943.eight.35
This drawing depicts an example of needlework from the late 19th century. Young women fabricated samplers to practice needle arts and to demonstrate different embroidery stitches. If yous overstate the drawing, you will see that it is then fine and realistic that information technology almost appears to be a photo. The sampler offers the sentiment "What is home without Mother," signaling traditional ideas of the mother every bit the heart of the habitation and of domestic life in general.
This work is role of the Index of American Design (IAD), a body of xviii,000 drawings that chronicle the history of American decorative art, folk art, and craft objects from the 17th century until well-nigh the plow of the 20th century. The IAD was a project of the Works Progress Assistants (WPA), created during the Depression to provide employment to out-of-piece of work people, including artists. There was a higher proportion of women working in the IAD project than in other federal fine art programs at the time, possibly indicating greater opportunity for women illustrators. These jobs were a small portion of the total WPA jobs created, the great majority of which were available in construction, building roads and infrastructure, and largely reserved for men.
Are at that place any activities in your ain life that are viewed as belonging to a specific gender? How practice you feel nigh this perception? If women artists were to continue to add piece of work to the IAD today, how might the subject matter compare to these works of fine art?
Women and Art
Lena Nastasi (artist), Laura McCall (object maker), Crocheted Lace , c. 1936, pen and ink on paper, National Gallery of Art, Washington, Index of American Blueprint, 1943.eight.491
This cartoon depicts an example of needlework from the belatedly 19th century. Immature women crocheted items that could decorate clothing, tablecloths, and curtains. If you lot overstate the cartoon, you will see that it is so fine and realistic that it well-nigh appears to be a photograph.
This work is part of the Index of American Design (IAD), a body of 18,000 drawings that chronicle the history of American decorative art, folk art, and craft objects from the 17th century until nearly the turn of the 20th century. The IAD was a project of the Works Progress Administration (WPA), created during the Depression to provide employment to out-of-work people, including artists. There was a higher proportion of women working in the IAD project than in other federal art programs at the time, maybe indicating greater opportunity for women illustrators. These jobs were a small portion of the total WPA jobs created, the peachy majority of which were available in construction, building roads and infrastructure, and largely reserved for men.
Are there whatever activities in your own life that are viewed equally belonging to a specific gender? How exercise y'all feel about this perception? If women artists were to continue to add work to the IAD today, how might the field of study matter compare to these works of art?
Women and Art
Dorothea Lange, Eighteen-year-onetime mother from Oklahoma, now a California migrant , March 1937, gelatin silver print, National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser, 2016.191.32
Dorothea Lange's photographs of people impacted by the Low are her most well-known work. She wanted to show the public and politicians the reality and depth of the United States' social and economic issues. Working for the Farm Security Administration, an agency created by President Franklin Delano Roosevelt to accost the plight of farmers affected by the dust bowl, Lange made many photographs of migrants who traveled to California during the 1930s seeking agricultural work. Yet piece of work was scarce, and oftentimes migrants ended up unemployed in encampments, some set up as public relief programs. Here a young mother sits in front of her government-issued tent with her child at her feet. Her expression communicates a toughness and a kind of resignation. Lange sometimes shared her photographs with newspapers in order to draw the public's attention to people's suffering. On one occasion, the publication of her photographs in the San Francisco News resulted in an outpouring of twenty,000 pounds of food donations for malnourished migrant workers.
Consider how the female experience might differ across socioeconomic grade, race, and time. How does this image compare to another 1937 photo past Lange of a Japanese female parent and daughter serving as agricultural workers?
Women and Art
Helen Frankenthaler, Mountains and Ocean, 1952, oil and charcoal on sail, Helen Frankenthaler Foundation, Inc., on loan to the National Gallery of Art, Washington
At historic period 23, Helen Frankenthaler painted Mountains and Sea, a breakthrough work that has influenced generations of artists. Using thinned oils, she poured the paint in pools that flowed across the surface of her raw (or unprimed) canvas, which was placed on the floor. This process created luminous fields of transparent color, while some areas, mostly effectually the edges, were purposely left open and allowed the weave of the raw canvas to flatten the prototype. This "soak/stain" technique, which Frankenthaler pioneered, proved an of import step forward for painting.
The championship of this painting was inspired by a summertime trip to Cape Breton Island in Nova Scotia, Canada, where Frankenthaler encountered a view of the land and sea meeting in a clash of waves, rocky shore, and brilliant lite. This work was shown in a gallery exhibition in 1953 in which not a single painting was sold. Frankenthaler would keep to get ane of the nearly celebrated artists of her fourth dimension.
Are there pioneering women who inspire y'all?
Women and Fine art
Alma Thomas, Tiptoe Through the Tulips , 1969, acrylic on canvas, National Gallery of Art, Washington, Corcoran Collection (Gift of Vincent Melzac), 2015.19.145
The role of colour is of "paramount importance." As Alma Thomas said, "through colour I have sought to concentrate on beauty and happiness in my painting rather than on man'southward inhumanity to man." Thomas created this work when she was well into her seventies. The artist found inspiration in landscapes and flowers around her, which she stylized in shapes and patterns created with repeated, colorful brushstrokes. Her paintings are infused with personal memories and references; in this example, the piece of work's title refers not only to the springtime flowers that populate Washington, DC, where she lived, but also to the plucky vocal published in 1929 and famously recorded by Tiny Tim in 1968.
Although Thomas worked as an artist steadily her entire life, setting upwardly a studio in her domicile, she was unable to make a living as an artist. As an African American woman who grew upwardly in the South during the Jim Crow era, she experienced the additional weight of racism and segregation. Thomas chose one of the few options available to women who sought employment and financial independence: a degree in education, which she applied to a career of over 40 years instruction in Washington, DC, public schools, all the while painting during nights and on weekends. Upon retirement at age 69, she devoted herself full-fourth dimension to fine art making. She realized a remarkable and productive "2d human activity" in life, achieving visibility and, at age 80, a solo museum exhibition (at the Whitney Museum of American Art in New York).
Consider your own community: Who are the artists effectually you lot? What can you find in your ain environment that inspires you? Tin you place a text or song that shares the mood of this work of art?
Women and Art
Miriam Schapiro, Anonymous was a Woman VII , 1977, softground carving in reddish on Arches newspaper, National Gallery of Art, Washington, Gift of the Artist, 1979.ix.8
Miriam Schapiro was a pioneer of feminist fine art first in the 1970s. Feminist art gave visibility and voice to the particular conditions of women's personal and socioeconomic lives. Schapiro's etchings of crochet recollect drawings of similar objects from the Index of American Pattern (IAD). Traditional, embroidered samplers and examples of fine crochet fabricated by generations of immature women—and visually documented in the IAD—embody conventional expressions of domesticity. Schapiro'south works slyly subvert those ideals while as well paying homage to household labor and activities performed largely by women. This carving commands "Take a Seat," with an image of a chair replacing the concluding give-and-take. It was part of a serial that recognized the unseen and uncredited work of women in the dwelling, whether sewing, mending, cooking, or cleaning.
Women and Art
Miriam Schapiro, Anonymous was a Woman Five , 1977, softground etching in brown and debossing on Arches paper, National Gallery of Art, Washington, Gift of the Artist, 1979.9.half dozen
Miriam Schapiro was a pioneer of feminist fine art starting time in the 1970s. Feminist art gave visibility and voice to the detail atmospheric condition of women'due south personal and socioeconomic lives. Schapiro'south etchings of crochet call up drawings of similar objects from the Alphabetize of American Design (IAD). Traditional, embroidered samplers and examples of fine crochet made by generations of young women—and visually documented in the IAD—embody conventional expressions of domesticity. Schapiro's works slyly subvert those ideals while as well paying homage to household labor and activities performed largely by women. This etching looks like a breadstuff doily through which some flour has left a respective grid. (The duplicate white image was created by putting the same plate, uninked, through the printing press.) The shape of the sampler also suggests a dollar pecker—perhaps a pun on the word "staff of life," likewise equally the thought that this was the only kind of "bread" women could make at certain points in history. This etching was part of a series that recognized the unseen and uncredited work of women in the home, whether sewing, mending, cooking, or cleaning.
Women and Fine art
Laurie Simmons, Woman/Purple Dress/Kitchen , 1976, gelatin silver print, National Gallery of Art, Washington, Patrons' Permanent Fund, 2008.30.45
Laurie Simmons creates fictional tableaux which she carefully lights and photographs. Some are miniature scenes, such every bit this i of a woman/doll in a kitchen. While the picture looks like information technology could be a peek into a dollhouse, the fashion in which Simmons presents the scene suggests something off-kilter and discomfiting. The black-and-white photograph and its dramatic lighting evoke old Hollywood films of the mid-twentieth century. During that time, pop culture—including movies and toys—ofttimes reinforced gender stereotypes, depicting women in domestic roles. In Woman/Purple Apparel/Kitchen, a clock shows the fourth dimension as simply subsequently six o'clock: Is information technology early evening and the woman/doll awaits the inflow of her spouse? As is ofttimes the case with dollhouses, the proportions of the objects are slightly off. Here an assortment of baked appurtenances, kitchen utensils, and a behemothic radio on the table are half as large as the woman/doll continuing behind them.
Consider how you lot find, internalize, and challenge gender roles in your life. Do you see any evidence of irresolute viewpoints in society? What are they?
Women and Art
Betye Saar, Twilight Awakening , 1978, mixed media on printer's wood cake, National Gallery of Art, Washington, Gift of Francine Farr in laurels of Samella Lewis, with gratitude to Scripps College, 2015.27.1
Betye Saar is a Los Angeles–based artist who mingles personal history, mythology, and folk fine art to reflect upon her life and the African American experience. Twilight Awakening centers on a powerful central figure who hovers between the space of ocean and state, the moon and star. The work's symbology indicates that the effigy is Aquarius, the Water Bearer. The signs of the zodiac derive from Roman artifact, visualizing the passage of time through labor and activities associated with different times of the year. The work is a three-dimensional assemblage: it is made on a wooden base of a recycled printer's block, to which Saar added scavenged and sculpted pieces of plastic, ceramic, and drinking glass. These personal objects, begetting marks of use and history, lend a magical ability to the tiny console measuring only 3 ¾ × four ½ × ¾ inches. Who are the storytellers in your life? How exercise they share their stories?
Women and Art
Joan Mitchell, Salut Tom , 1979, oil on sheet, National Gallery of Fine art, Washington, Corcoran Collection (Gift of the Women'due south Committee of the Corcoran Gallery of Art, and Museum Purchase with the aid of funds from the National Endowment for the Arts), 2014.136.135
This picture consists of four panels that are 26 feet long altogether. The painting'southward 1000 horizontal scale with its bright lemon-yellow background, white plumes in the middle ground, and green and blue textures propose immersion in a sunny summer landscape, radiating lite, open up air, and nature. Mitchell said, "My paintings…aren't near fine art problems. They're about a feeling that comes to me from the outside, from mural." In what ways is it possible to visually portray intangible things like a feeling?
Do you think gender identity must be addressed or made visible in a woman'south work of art? What are the limitations that have been placed on women in all fields, historically and now?
Women and Art
Graciela Iturbide, Quince Años (Fifteenth Birthday) , 1985, printed 1990, gelatin silver print, National Gallery of Art, Washington, Corcoran Drove (Gift of Kyle Roberts), 2015.nineteen.4668.5
In this image, a girl is dressed formally for her fiesta de quince años, or quinceañera, to mark her entry into womanhood. This special recognition of the 15th altogether is a custom in Mexican and other Latin American cultures. Graciela Iturbide contrasts this celebration of emerging adulthood with the presence of the girl'southward grandmother seated in the foreground, whose appearance suggests a life of hardship. The expressions of the two relatives are distant and difficult to read.
Iturbide is among the foremost figures in Mexican photography, known for her work documenting Indigenous cultures around the globe. In 1978 the Instituto Nacional Indigenista hired her to photograph Mexico's Indigenous populations. As part of that work, she traveled to Juchitán, whose inhabitants are of Zapotec heritage, with a matriarchal society. This photograph is from that project, collectively published equally Juchitán de las Mujeres (1989).
Women and Art
Graciela Iturbide, Magnolia , 1986, printed 1990, gelatin silver print, National Gallery of Art, Washington, Corcoran Drove (Souvenir of Kyle Roberts), 2015.nineteen.4668.iv
Graciela Iturbide is amid the foremost figures in Mexican photography, known for her work documenting Indigenous cultures effectually the world. In 1978 the Instituto Nacional Indigenista hired her to photograph Mexico's Indigenous populations. As part of that piece of work, she traveled to Juchitán, whose inhabitants are of Zapotec heritage, with a matriarchal guild. This photograph is from that project, collectively published as Juchitán de las Mujeres (1989).
Iturbide'south practice involves immersing herself into the communities that she photographs. While shopping for groceries 1 solar day, she was approached by Magnolia, who wanted her picture taken. Magnolia was role of a community of muxes, individuals assigned male person at nativity but who identify as other genders. In some Indigenous cultures, muxes are considered a third gender and people with special powers. Magnolia holds a mirror upwards to her profile, doubling her image and suggesting the multiple ways that identity may be presented.
Women and Fine art
Guerrilla Girls, When Racism & Sexism are No Longer Fashionable, What Volition Your Fine art Drove Be Worth? , 1989, offset lithograph in black on wove paper, National Gallery of Fine art, Washington, Gift of the Gallery Girls in support of the Guerrilla Girls, 2007.101.vi
The Guerrilla Girls is an anonymous and always-changing group of women artists, curators, and writers who employ performances, public demonstrations, and visual art to advocate for greater representation of diverse artists in museums, galleries, art publications, and other creative pursuits. The Guerrilla Girls clothes in full-torso gorilla suits to perform guerrilla actions, such equally protests, on behalf of women and other underrepresented groups in the art world. The costumes disguise their real identities and permit them to assume the pseudo-identities of famous women artists. This satirical gesture familiarizes women artists' names while besides preventing the individuals from being blackballed by the institutions confronting which they protest.
This lithograph is considered a fine art object, notwithstanding the image/text has been produced in different formats and materials to function as a protest poster, similar to what you might see in a sit-in or plastered on bus stop shelters or walls. The Guerrilla Girls collect information and statistics upon which they base their clever and boldly headlined letters about art world inequities. To date, approximately 11 pct of the artists represented in the National Gallery of Art collection are women.
Do you find this an constructive form of activism to address sexism? Why or why not? What other methods accept activists used today and in the recent past to address sexism?
Women and Art
Barbara Kruger, Untitled (Know nothing, Believe anything, Forget everything) , 1987/2014, digital impress on vinyl, National Gallery of Art, Washington, Gift of the Collectors Commission, Sharon and John D. Rockefeller IV, Howard and Roberta Ahmanson, Denise and Andrew Saul, Lenore Southward. and Bernard A. Greenberg Fund, Agnes Gund, and Michelle Smith, 2014.38.i
Barbara Kruger got her start working as a graphic designer at Glamour magazine in the belatedly 1960s. Before digital page layout existed, graphic designers made "paste-ups" comprising collaged elements—such as titles, texts, captions, and images—to create a designed page. The collage was then photographed for reproduction in the mag. Kruger has riffed on this procedure in her work as a visual artist. Using a distinctive graphic style, she exposes ability dynamics in her personal life, piece of work, and politics. This image depicts a woman receiving a mysterious treatment to her center administered by the faceless figure of a medical professional in the groundwork. The three blood-red confined with text separate the medical instrument in the acme half from the receptive, passive woman in the bottom half with the ominous text: "Know naught / Believe anything / Forget everything." What might those words imply?
Why do you think the artist uses text alongside her epitome? How does the text relate to the image that it is paired with? How tin art exist a vehicle for social critique?
Women and Art
Myra Greene, Untitled [Ref. #56] , 2006, ambrotype, National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund, 2012.23.ii. © Myra Greene
This shut-up cocky-portrait by Myra Greene addresses the complexity of how we see other people and what nosotros can know by seeing them. The photo isolates and fragments a part of Greene's face, denying the states the ability to run into her as a whole. The work intentionally uses a vintage photography technique called ambrotype to allude to a 19th-century version of racial profiling in which photography was used to classify facial features to back up white supremacy. This photograph is part of a series titled Character Recognition. Greene began this project in 2006, noting, "Confronted with an up swell of bigotry both personal and public, I was forced to enquire myself, what do people run into when they expect at me. Am I nothing merely black? Is that peel tone enough to describe my nature and expectation in life?"
Could this work exist considered an act of intersectional feminism? Why or why not?
Women and Fine art
Myra Greene, Untitled [Ref. #60] , 2006, ambrotype, National Gallery of Fine art, Washington, Alfred H. Moses and Fern M. Schad Fund, 2012.23.3. © Myra Greene
This close-up self-portrait by Myra Greene addresses the complication of how we come across other people and what we can know by seeing them. The photograph isolates and fragments a role of Greene's confront, denying us the ability to see her as a whole. The work intentionally uses a vintage photography technique chosen ambrotype to insinuate to a 19th-century version of racial profiling in which photography was used to allocate facial features to support white supremacy. This photograph is role of a series titled Graphic symbol Recognition. Greene began this project in 2006, noting, "Confronted with an up corking of discrimination both personal and public, I was forced to ask myself, what practise people see when they look at me. Am I nothing but black? Is that skin tone enough to describe my nature and expectation in life?"
Could this work be considered an human action of intersectional feminism? Why or why non?
Women and Art
Myra Greene, Untitled [Ref. #72] , 2007, ambrotype, National Gallery of Art, Washington, Alfred H. Moses and Fern Chiliad. Schad Fund, 2012.23.5. © Myra Greene
This close-up self-portrait by Myra Greene addresses the complexity of how we see other people and what we can know by seeing them. The photograph isolates and fragments a role of Greene'southward face, denying the states the ability to see her as a whole. The work intentionally uses a vintage photography technique chosen ambrotype to allude to a 19th-century version of racial profiling in which photography was used to classify facial features to back up white supremacy. This photograph is part of a serial titled Character Recognition. Greene began this project in 2006, noting, "Confronted with an upwards swell of discrimination both personal and public, I was forced to ask myself, what do people come across when they expect at me. Am I aught simply blackness? Is that skin tone enough to describe my nature and expectation in life?"
Could this piece of work exist considered an act of intersectional feminism? Why or why not?
Women and Art
Kara Walker, no world , 2010, color etching, drypoint, and aquatint with sugarlift and spitbite on Hahnemühle Copperplate wove paper, National Gallery of Fine art, Washington, Donald and Nancy de Laski Fund, 2015.42.1
This carving is role of a series—An Unpeopled Land in Uncharted Waters—whose half dozen works refer to the transatlantic slave trade. Its title, no earth, may be a pun on "New World," referring to dislocation and an in-between state. The image, resembling an analogy from a graphic novel, communicates a narrative of mythological proportion. The sailing send, alluding to a vessel used in the forced send of African people to the Americas, is being lifted out of heaving seas by giant black hands. A dramatic column of blackness and white clouds clash in the sky above, suggesting disharmonize, while beneath the water, a floating female figure faces downward. A long wave moves toward the shore, upon which stand up two distant, caricatured silhouetted figures with some spindly plants, maybe a reference to the 19th-century agricultural economy that depended on the labor of enslaved people. Kara Walker's work addresses the violent, traumatic history of slavery and its legacy. A female figure is a prominent office of this piece of work. Why might Walker have made the choice to include this figure, and to requite her prominence in the foreground?
Women and Art
Nikki S. Lee, The Hispanic Project (half-dozen) , 1998, chromogenic print, National Gallery of Art, Washington, Gift of the Heather and Tony Podesta Collection, 2011.144.15
Artist Lee Seung-Hee adopted an Americanized proper name, Nikki S. Lee, when she moved to the United States from Republic of korea. In this photograph, we run into the fourth dimension-honored ritual of talking and applying makeup in the ladies' room. The image even has an orange time stamp that dates it to June fourteen, 1998.
Lee's photographs are a component of a larger, performance-based project begun in New York City to explore a range of self-identifying cultures, some based on gender or race, others on intersecting music, style, or professional person subcultures. Over a period of months, Lee would assimilate herself into a particular grouping, forming relationships and building trust. Side by side, she transformed herself through dress, makeup, and gesture so that she appeared to exist a member of that civilisation. She then documented her inclusion in the group by giving her bespeak-and-shoot camera to ane of her new friends. In this prototype, we see Lee in the foreground applying lip liner.
What questions does this image raise nigh grouping identity and acceptance, whether based on culture or gender?
Women and Art
Rozeal (formerly known as iona rozeal brown), afro.died, T. , 2011, acrylic, pen, ink, mark, and graphite on birch plywood panel, National Gallery of Fine art, Washington, Corcoran Collection (Museum Purchase with funds provided by the Women's Committee of the Corcoran Gallery of Art), 2015.19.243
Rozeal uses the championship of this work, a play on Aphrodite, aboriginal Greek goddess of love and beauty, to present a cross-cultural rebellion on beauty ideals that traverses the Eastern and Western Hemispheres.
Rozeal spent time in Japan through a fellowship program and became interested in the ganguro style, whereby young Japanese women counter traditional beauty norms by wearing pare-darkening makeup, dying their long pilus blonde, and applying long smash tips. Equally a DJ and performance artist, Rozeal underscores ganguro's references to African American hip-hop culture—seen in the words "back and along" repeated in the groundwork, a quotation from the song "Whip My Hair" by Willow Smith, while music discs frame the figure. The stylized appearance and pose of the figure recall Japanese 19th-century ukiyo-east prints, which traditionally depict a fantasy world of nightlife and geisha. What does dazzler mean to you lot? What does this work of art make you think nearly women in your own community and culture?
Women and Art
Sheila Hicks, Embedded Thoughts , 2013, silk wrapped newspaper, wool, cotton, and linen, National Gallery of Art, Washington, Gift of Roy and Cecily Langdale Davis, 2014.134.1
This delicate work, smaller than a standard sail of paper, is carefully synthetic from fibers. Sheila Hicks has built a long career exploring the intersections between so-called fine fine art and textiles. In then doing, she has brought artistic practices like weaving and tapestry, which are often denigrated as crafts and women's piece of work, into the mainstream. Hicks enrolled at the Yale Schoolhouse of Art during the 1950s and studied with Josef Albers, an abstract artist and color theorist originally from Germany. Equally a student, Hicks also became acquainted with the work of Albers's wife, Anni Albers, considered ane of the foremost textile artists and designers of the 20th century. A grant to study painting in Chile sparked Hicks's involvement in Indigenous textile traditions and led her to commence on a cocky-guided bout through every country of South America. During her nomadic career, she has developed fiber arts workshops in Mexico, Chile, and South Africa. Today she works largely from a studio in Paris. Hicks'south work spotlights the fourth dimension and labor that cloth arts entail—hours spent in repetitive motions and gestures to create pliable forms that reveal the traces of their making. Although bound past their structure, her works oftentimes appear remarkably free and expressive. Modestly scaled works, such every bit, Embedded Thoughts, made of narrow strips of fragile paper wrapped in tiny threads of silk, serve as "sketches" in which the creative person works through experimental ideas. Are in that location any traditions that have been passed down amid women in your community or culture? Do yous participate in these traditions? Why or why non?
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