SHGC The Womens Art Movement (Realism) Part 1b

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The Dinner Party was an art installation by Judy Chicago honoring influential women throughout history. It featured 39 place settings arranged in a triangular shape, each representing a famous woman with a china plate and textile runners designed in the style of her historical era. Most plates featured butterfly-shaped vulvas to symbolize how womanhood was the single common experience uniting all the women throughout time represented at the table. Reactions to the installation varied greatly, from religious exaltation to outraged criticism that it libeled the female imagination.

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INTRODUCTION: FEMINISM AND ART IN THE TWENTIETH CENTURY BY NORMA BROUDE AND MARY D. GARRARD What is feminist art? In the early 1970s, artists, critics, and his torians who were part of the feminist movement believed that, like the women’s movement itself, art made by feminist women represented a radical new beginning, a Part Two in the history of Western culture to complement the largely masculine history that would now become Part One. The goal of feminism, said early spokeswomen, was to change the nature of art itself, to transform culture in sweeping and permanent ways by introduc ing into it the heretofore suppressed perspective of women.1 In the new world order that would follow —Part Three —there would be gender balance in art and culture, and “universality” would represent the experiences and dreams of both females and males. Twenty years later, we may smile at so utopian a vision, hav ing learned that there is no such thing as a singular female perspective; that not all art by women is feminist, not even all art made by women who are feminists; having lived to see the Feminist Art movement of the 1970s contextualized by critics and historians as just another avant-garde movement followed by other movements; and finding ourselves in a period that is chillingly (to feminists) called “postfeminist,” in which self- defined feminist art continues to be made, but in forms that dif fer radically from their 1970s predecessors. How then do we situate the Feminist Art movement on the broader stage, conceptually and historically? Is it merely another phase of avant-garde? Or is it not, rather, to borrow a phrase that has been used to describe the cultural climate of the 1960s, “one of those deep-seated shifts of sensibility that alter the whole terrain”?2 The feminist critic Lucy R. Lippard argued persuasively in 1980 that feminist art was “neither a style nor a movement,” but instead “a value system, a revolutionary strat egy, a way of life,” like Dada and Surrealism and other nonstyles that have “continued to pervade all movements and styles ever since.”3 What was revolutionary in feminist art, Lippard ex plained, was not its forms but its content. Feminist artists’ insistence on prioritizing experience and meaning over form and style was itself a challenge to the modernist valorization of "progress” and style development: “in endlessly different ways,” wrote Lippard, “the best women artists have resisted the tread mill to progress by simply disregarding a history that was not theirs. Thus the agenda of feminist art could not be subsumed into that of modernism, and the very appearance of feminist art as early as 1970 was a distant early warning that modernism, and its theoretical commitment to formal values alone, was des tined to become a finite historical stage, in this case to be replaced by postmodernism. Feminist art and art history helped to initiate postmodern ism in America. We owe to ...

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Paper Writing Service - HelpWriting.net 👈 ✅ Quality You get an original and high-quality paper based on extensive research. The completed work will be correctly formatted, referenced and tailored to your level of study. ✅ Confidentiality We value your privacy. We do not disclose your personal information to any third party without your consent. Your payment data is also safely handled as you process the payment through a secured and verified payment processor. ✅ Originality Every single order we deliver is written from scratch according to your instructions. We have zero tolerance for plagiarism, so all completed papers are unique and checked for plagiarism using a leading plagiarism detector. ✅ On-time delivery We strive to deliver quality custom written papers before the deadline. That's why you don't have to worry about missing the deadline for submitting your assignment. ✅ Free revisions You can ask to revise your paper as many times as you need until you're completely satisfied with the result. Provide notes about what needs to be changed, and we'll change it right away. ✅ 24/7 Support From answering simple questions to solving any possible issues, we're always here to help you in chat and on the phone. We've got you covered at any time, day or night. Feminism and Art History The history of mankind has often been captured in snapshots between the rise and fall of great leaders and civilizations, by artists all with a common dream of portraying what they saw during their times. Ideologies reflective of their societies were depicted through sculptures, frescoes, pottery, paintings, and many other methods. Many of these principals were created, celebrated, and popularized by constituents of societies where andocentric values were applied not only to social and political mores, but also to the various art forms as the male body was cherished and praised and the female body was hidden away from public view. The book Feminism and Art History: Questioning the Litany edited by Norma Broude and Mary D. Garrad, strives...show more content...Kampen concludes by discussing how the image of women portrayed the idealistic views of women as caretakers who stayed at home , and works of art supported this by depicting women as mythological or entertaining, or as an adjunct to the patron s own status; otherwise she might not appear. (pg. 74) The author believes that the artists were in denial of the experiences of working women and that s why the views of working women were limited. The visual portrayals of gender and status in Roman society stand as a bridge linking the work of art and the work of society together as one. The final chapter that I read was one I found extremely conflictant and interesting because not only did we touch on some of these topics in class, but when I visited the Metropolitan Museum I actually had some of the same issues with the works I saw there. Eve and Mary: Conflicting Images of Medieval Woman by Henry Kraus, was b

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Venus de Milo Written By: Jacob Bancroft Measurements: Height: 5'4" Head: 23" Neck: 12.5" Chest: 33" Bust: 37" Waist: 26" Hips: 38" Thigh: 22.5" Calf: 13.2" Ankle: 7.4" Knee: 15" (New York Times, "ENGLISH GIRL NEAREST VENUS...") Material: Parian Marble Time Period: Between 130 and 100 BC Sculptor: Alexandros of Antioch Discovery: April 8th, 1820 Price: 1000 francs Location: Louvre Venus de Milo is an ancient Greek sculpture believed to be sculpted by Alexandros of Antioch, as evidenced by the inscription on the base of the statue. The statue is thought to represent either Aphrodite, the goddess of love and beauty, or Amphitrite, the sea goddess. The most notable feature of the statue is the goddess's lack of arms. The arms were not found during the statue's discovery. The original base is currently also missing; however, it is thought that it was found with the statue originally, because the sculptor's inscription on the base was used to identify the artist. The statue was found by a peasant who sold the statue to the French navy. The ship did not have the required space for the statue and so a diplomat was promised to come back later to purchase the statue. When Marcellus, secretary to Marquis de Riviere, arrived at Milo, the impatient peasant was in the process of selling the statue to Constantinople. The French negotiated the statue to be sold to them. The statue was then gifted to King Louis XVIII, who donated to the Louvre. King Louis would not actually see the statue for another year due to his obesity (University of Chicago). The statue is thought to have depicted the Judgement of Paris. The story of the Judgement of Paris is that Zeus held a party celebrating the marriage of Achilles's parents, but did not invite Erin. Erin brought a golden apple to Olympus to be the prize of the most beautiful goddess and Aphrodite, Athena, and Hera tried to win over the mortal judge, Paris. Paris chose Aphrodite from the lineup of naked goddesses because she offered him Helen of Sparta. The statue depicted Aphrodite holding the golden apple in victory of Paris's judgement. Other scholars say that the statue depicts Amphitrite. This theory is based on the fact that the statue was discovered on Milos. Milos was an island that worshipped Amphitrite. There has been evidence unearthed that proves the existence of a Amphitrite cult on the island (Greek Boston). The statue was found with arms, but the Louvre thought the arms to be unoriginal (My Modern Met). The Judgement of Paris explanation is based on the finding of the apple in the statue's hand, and so it is debated whether the statue in fact depicts Aphrodite or Amphitrite. It is more popularly believed to be Aphrodite, and so the statue was named "Venus de Milo." Venus de Milo is one of the most famous surviving examples of ancient Greek sculpture. Ever.

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SEEING HIGH & LOW REPRESENTING SOCIAL CONFLICT IN AMERICAN VISUAL CULTURE EDITED BY PATRICIA JOHNSTON University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and nahlral sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and instihltions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2006 by The Regents of the University of California Library ofCongless Cataloging-in-Publication Data Seeing high and low ; representing social conflict in American visual culhlre f edited by Patricia Johnston. p. em. "An Ahmanson Murphy fine arts book.n Includes bibliographical references and index. ISBN 0·)20·24187-8 (doth: alk. paper)-ISBN 0-520- 24188-6 (pbk.: alk. paper) 1. Art and society-United States. 2. Social conflict in art. 3· Values. I. Johnston, Patricia A., 1954- N72.s6s36 2006 Manufactured in Canada 15 14 lJ 12 II !09876 2005023951 ro 09 o8 07 o6 4 3 2 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39·48-1992 {R 1997) (Penmmence of Paper). ACKNOWLEDGMENTS vii INTRODUCTION A Critical Overview of Visual Culture Studies PATRICIA JOHNSTON 1 EDUCATING FOR DISTINCTION? Art, Hierarchy, and Charles Willson Peale's Staircase Group DAVID STEINBERG 25 2 SAMUEL F. B. MORSE'S GALLERY OF THE LOUVRE Social Tensions in an Ideal World PATRICIA JOHNSTON 42 3 CARTOONS IN COLOR David Gilmour Blythe's Very Uncivil War SARAH BURNS 66 4 "AIN'T I A WOMAN?" Anne Whitney, Edmonia Lewis, and the Iconography of Emancipation MELISSA DABAKIS 84 CONTENTS 5 CULTURAL RACISM Resistance and Accommodation in the Civil War Art of Eastman Johnson and Thomas Nast PATRICIA HILLS 103 6 CUSTER'S LAST STAND High-Low on Old and New Frontiers PATRICIA M. BURNHAM 124 7 REENVISIONING 'IHIS WEll-WOODED LAND" JANICE SIMON 142 8 AT HOME WITH MONA LISA Consumers and Commercial Visual Culture, r88o-r92o KATHARINE MARTINEZ 160 9 GUSTAV STICKLEY'S DESIGNS FOR THE HOME An Activist Aesthetic for the Upwardly Mobile ARLETTE KLARIC 177 10 HANDICRAFT. NATIVE AMERICAN ART. AND MODERN INDIAN IDENTITY ELIZABETH HUTCHINSON 194 FOUR "AIN'T I A WOMAN?" ANNE WHITNEY, EDMONIA LEWIS, AND THE ICONOGRAPHY OF EMANCIPATION MELISSA DABAKIS EMANCIPATION ANO THE POTENTIAl for a new multiracial: into his movement sympathetic women-like Whit- society inspired the attistic imaginations of Anne ~; ney and Lewis-who saw themselves as "universal Whitney (r82r-r9I5) and Edmonia Lewis (r843/45- ,reformers," dedicated to both the immediate aboli- I9II[?]). These tv.:o women, involved with abolition- tion of slavery and the rights of.

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The Chicago Renaissance: turn of 20th c.-1960s(ish) “a gathering of writers, a flowering of institutions that supported and guided them, and the outpouring of writing they produced” http://www.encyclopedia.chicagohistory.org/pages/257.html * Chicago in the 1890s—Setting the Stage for the Renaissance * Historical significance of the World's Columbian Exposition The second half of the 19th century was an age of fairs and expositions held in London, Paris, and other great cities throughout the world. The World's Columbian Exposition, held in Chicago in 1893, was the first critically and economically successful U.S. world's fair. Conceived as a celebration of the 400th anniversary of Columbus' landing in the new world, the Exposition held a near-mythological appeal for people of the time. The Columbian Exposition showcased a city just 60 years old, a city magnificently reborn just 22 years after the Chicago Fire. It also placed before the world the genius of Chicago architects Daniel Burnham, Frederick Law Olmsted, and Louis Sullivan. In effect, the Columbian Exposition was Chicago's debut on a world stage as a locus of great architecture and burgeoning economic power. http://columbus.gl.iit.edu/index.html * "The exterior of the gigantic bubble of glass and iron that rises over the central pavilion of Horticultural Hall has already been shown in these plates, and here we are admitted into the luxurious tropical garden that flourishes in the interior. Here in a great space of light and air may be seen a miniature mountain covered with strange foliage and with a little stream dashing down its sides, great tubs of palms and tree ferns, bamboos, century plants, "elk horns," a miniature Japanese garden, bridges and all, and shady, inviting nooks, in which the tourisht may find picturesque rest - much as the painter has here shown." Art & Architecture (the White City Edition) * The Chicago Defender, 1905 The Chicago Defender, which was founded by Robert S. Abbott on May 5, 1905, once heralded itself as "The World's Greatest Weekly." The newspaper was the nation's most influential black weekly newspaper by the advent of World War I, with more than two thirds of its readership base located outside of Chicago. As a northern paper, The Defender had more freedom to denounce issues outright, and its editorial position was very militant, attacking racial inequities head-on. The Defender did not use the words "Negro" or "black" in its pages. Instead, African Americans were referred to as "the Race" and black men and women as "Race men and Race women.“ During World War I The Chicago Defender waged its most aggressive (and successful) campaign in support of "The Great Migration" movement. This movement resulted in over one and a half million southern blacks migrating to the North between 1915-1925. * , Richard Wright, born 1908 Native Son, 1940 Black Boy, 1945 * Harriet Monroe and Poetry, 1912 The word "Imagiste" a.

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