Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile...

75
Women as Center

TAGS:

Transcript of Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile...

Page 1: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Women as Center

Page 2: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Elements of women’s art• Uniform density• Overall texture• Often sensuously tactile and

repetive • Detailed to the point of obsession• Preponderance of circular forms• Central focus• Inner space (sometimes

contradicting the first aspect)• A ubiquitous liner bag or

parabolic form that turns in on itself

• Layers, or strata, or veils

• Indefineable looseness• Flexibility of handling• Windows• Autobiographical content• Animals• flowers,• Certain kind of

fragmentation• New fondness for the pinks

and pastels and ephemeral cloud colors.

Page 3: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Women as ‘center’

Page 4: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Womanhouse

Page 5: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Camille Grey, Lipstick Bathroom, 1972

Page 6: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Beth Bachenheimer, Sherry Brody, Karen LeCoq, Robin Mitchell, Miriam Schapiro, Faith Wilding, Dining Room, 1972.

Page 7: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Sandy Orgel, The Linen Closet, 1972

“this is exactly where women have always been – in between the sheets and on the shelf. It is now time to

come out of the closet”

Page 8: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Judy Chicago, Menstruation Bathrom, 1972

Page 9: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 10: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Schapiro and Sherry Brody, Dollhouse, 1972

Page 11: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Sandra Ogle, Ironing

Page 12: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Waiting

Page 13: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Judy Chicago’s Dinner Party

Page 14: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 15: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 16: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Chicago, Dinner Party, 1974-9

Page 17: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Wing I: From Prehistory to the Roman Empire1. Primordial Goddess2. Fertility goddess3. Ishtar4. Kali5. Snake Goddess6. Sophia7. Amazon8. Hatshepsut9. Judith10. Sappho11. Aspasia12. Boudica13. Hypatia

http://en.wikipedia.org/wiki/Protogenoi
http://en.wikipedia.org/wiki/Fertility_goddess
http://en.wikipedia.org/wiki/Ishtar
http://en.wikipedia.org/wiki/Kali
http://en.wikipedia.org/wiki/Snake_Goddess
http://en.wikipedia.org/wiki/Sophia_(wisdom)
http://en.wikipedia.org/wiki/Amazons
http://en.wikipedia.org/wiki/Hatshepsut
http://en.wikipedia.org/wiki/Judith
http://en.wikipedia.org/wiki/Sappho
http://en.wikipedia.org/wiki/Aspasia
http://en.wikipedia.org/wiki/Boudica
http://en.wikipedia.org/wiki/Hypatia
Page 18: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Wing II: From the Beginnings of Christianity to the Reformation14. Marcella15. Saint Bridget16. Theodora of Byzantium17. Hrosvitha18. Trotula of Salerno19. Eleanor of Aquitaine20. Hildegard of Bingen21. Petronilla de Meath22. Christine de Pisan23. Isabella d'Este24. Elizabeth I of England25. Artemisia Gentileschi26. Anna van Schurman

http://en.wikipedia.org/wiki/Saint_Marcella
http://en.wikipedia.org/wiki/Bridget_of_Sweden
http://en.wikipedia.org/wiki/Theodora_(6th_century)
http://en.wikipedia.org/wiki/Hrosvitha
http://en.wikipedia.org/wiki/Trotula_of_Salerno
http://en.wikipedia.org/wiki/Trotula_of_Salerno
http://en.wikipedia.org/wiki/Eleanor_of_Aquitaine
http://en.wikipedia.org/wiki/Hildegard_of_Bingen
http://en.wikipedia.org/wiki/Hildegard_of_Bingen
http://en.wikipedia.org/wiki/Petronilla_de_Meath
http://en.wikipedia.org/wiki/Petronilla_de_Meath
http://en.wikipedia.org/wiki/Petronilla_de_Meath
http://en.wikipedia.org/wiki/Christine_de_Pisan
http://en.wikipedia.org/wiki/Christine_de_Pisan
http://en.wikipedia.org/wiki/Isabella_d'Este
http://en.wikipedia.org/wiki/Isabella_d'Este
http://en.wikipedia.org/wiki/Elizabeth_I_of_England
http://en.wikipedia.org/wiki/Artemisia_Gentileschi
http://en.wikipedia.org/wiki/Anna_Maria_van_Schurman
http://en.wikipedia.org/wiki/Anna_Maria_van_Schurman
Page 19: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Wing III: From the American to the Women’s Revolution27. Anne Hutchinson28. Sacajawea29. Caroline Herschel30. Mary Wollstonecraft31. Sojourner Truth32. Susan B. Anthony33. Elizabeth Blackwell34. Emily Dickinson35. Ethel Smyth36. Margaret Sanger37. Natalie Barney38. Virginia Woolf39. Georgia O'Keeffe

http://en.wikipedia.org/wiki/Anne_Hutchinson
http://en.wikipedia.org/wiki/Sacajawea
http://en.wikipedia.org/wiki/Caroline_Herschel
http://en.wikipedia.org/wiki/Mary_Wollstonecraft
http://en.wikipedia.org/wiki/Sojourner_Truth
http://en.wikipedia.org/wiki/Susan_B._Anthony
http://en.wikipedia.org/wiki/Elizabeth_Blackwell_(doctor)
http://en.wikipedia.org/wiki/Emily_Dickinson
http://en.wikipedia.org/wiki/Ethel_Smyth
http://en.wikipedia.org/wiki/Margaret_Sanger
http://en.wikipedia.org/wiki/Natalie_Barney
http://en.wikipedia.org/wiki/Virginia_Woolf
http://en.wikipedia.org/wiki/Georgia_O'Keeffe
Page 20: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 21: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 22: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 23: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 24: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 25: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 26: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 27: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Contemporary Women Artists

Page 28: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Critique/ challenge of objectification of women

Page 29: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Barbara Kruger, Your Gaze Hits the Side of My Face, 1981

Page 30: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Kruger, Untitled, 1981

Page 31: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Untitled, 1981

Page 32: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Critique/challenge of male power

Page 33: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Untitled, 1981

Page 34: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Untitled, 1981

Page 35: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Untitled, 1982

Page 36: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Jenny Holzer, 1982

Page 37: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Untitled, 1990

Page 38: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Cindy Sherman, Untitled Film Still, 1966

Page 39: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

1981

Page 40: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

1990s

Page 41: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Sherrie Levine, After Walker Evans, 2001

Page 42: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Guerrilla Girls

Page 43: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 44: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 45: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 46: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Gender/Race

Page 47: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

From Tarzan to Rambo: English Born `Native' Considers her Relationship to the

Constructed/Self Image and her Roots in Reconstruction 1987

Page 48: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Jaune Quick-to-See Smith, Red Lake Series #5, 1981

Page 49: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Alphabet, 1985

Page 50: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Catherine Opie, Bo, 1991

Page 51: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 52: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Self-Portrait, 1993

Page 53: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Coco Fusco and Guillermo Gomez-Peña in their cage during the performance of Undiscovered Amerindians.

Page 54: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

They aimed to conduct a "reverse ethnography . . . Our cage became a blank

screen onto which audiences projected their fantasies of who and what we are. As we assumed the stereotypical role of the

domesticated savage, many audience members felt entitled to assume the role of

colonizer, only to find themselves uncomfortable with the implications of the

game" (Fusco 47).

Page 55: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Adrian Piper, Self-Portrait as a Nice White Lady, 1995

Page 56: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Motherhood/Domestic Life

Page 57: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Ladermen Ukeles

Page 58: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Sylvia Mangold

Page 59: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Paula Rego, Family, 1988

Page 60: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Mary Kelly, Post-Partum Document, 1973-9

http://www.postmastersart.com/archive/MK/PPDGenerali_Foundation_Installation.html
Page 61: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
http://www.postmastersart.com/archive/MK/PPDIntro.html
Page 62: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Analyzed feces stain and feeding chart

http://www.postmastersart.com/archive/MK/PPDDocI.html
Page 63: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Analyzed utterances and related speech events

http://www.postmastersart.com/archive/MK/PPDDocII.html
Page 64: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Analyzed markings and diary perspective schema

http://bp3.blogger.com/_Moee-Ehg2XE/RynqP0Vd0kI/AAAAAAAAAFk/UhnpSJBTfPk/s1600-h/post-partum.jpg
http://www.postmastersart.com/archive/MK/PPDDocIII.html
Page 65: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Transitional objects

Page 66: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Classified specimens, proportional diagrams, statistical tables, research index

http://www.postmastersart.com/archive/MK/PPDDocV.html
Page 67: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Faith Ringgold’s “Who’s Afraid of Aunt Jemima”

Page 68: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Mona Hataom, Pull,

Page 69: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Annette Messager, Histoire des Robes, 1990

Page 70: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Louise Bourgeois, Arch of Hysteria, 1993

Page 71: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Kiki Smith, Untitled, 1993

Page 72: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Faith Ringgold, Aunt Emmy, 1999

http://www.faithringgold.com/ringgold/aic96.htm
Page 73: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Zaha Hadid, London Aquatic Center

Page 74: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.
Page 75: Women as Center. Elements of women’s art Uniform density Overall texture Often sensuously tactile and repetive Detailed to the point of obsession Preponderance.

Smartphone obsession US - GlobeNewswire

Smartphone obsession US - GlobeNewswire

Star Wars. Obsession #3

Star Wars. Obsession #3

OBSESSION OF LIGHT

OBSESSION OF LIGHT

OBSESSION ONLINE

OBSESSION ONLINE

Dis Obsession

Dis Obsession

Passions And Obsession

Passions And Obsession

Poe's obsession with death

Poe's obsession with death

Tail of obsession

Tail of obsession

Power Preponderance and Domestic Politics: Explaining ...

Power Preponderance and Domestic Politics: Explaining ...

Inside America’s Coffee Obsession

Inside America’s Coffee Obsession

Stuff: A National Obsession

Stuff: A National Obsession

Food: Passion to Obsession

Food: Passion to Obsession

Bjerregarden, obsession

Bjerregarden, obsession

My obsession

My obsession

Patricia Wilson - Dangerous Obsession

Patricia Wilson - Dangerous Obsession

Obsession book

Obsession book

A Bread Obsession

A Bread Obsession

Kpop Obsession

Kpop Obsession

A Preponderance of Metals in the Circumgalactic Medium

A Preponderance of Metals in the Circumgalactic Medium

Obsession Magazine ontmoet Damaru

Obsession Magazine ontmoet Damaru