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Feminism is a French word, feminisme, and labeled the concept of social and political movements with ideologies for women's equality. Feminisme moved rapidly from Europe to the United States in the early 20th century and became synonymous with the Women's Movement. It means woman (femme) and a social movement (isme) and implied social change for women, culminating with their right to vote in 1920. The "women's movement," referred to in the United States, had a critical turning point in the 1960s when it expanded into women's liberation. This second wave of feminism was directly related to the "capitalist economies which had drawn millions of women into the paid labor force, and civil rights and anti-colonial movements had revived the politics of democratization."[1] The advent of the Feminist movement incited a wave of core female issues such as reproductive rights, equal rights, sexism, and gender roles through art activism. The 1970s conscious raising challenged the status quo, demanding the art world to change the inequality of art.
From the 1970s onward, women were expected to raise their children and work, while men only had to earn a living. The women's liberation movement demanded political and economic rights and expanded women's equality to equal pay for an equal job, equal help in the household, and equal opportunity. Along with the second wave of feminism, women are in the public arena remained marginal, and in the New York Whitney Museum, only 5% of the artists were female.[2] Judy Chicago and Miriam Schapiro created a project called the Womanhouse at the California Institute of the Arts. The project consisted of 17 rooms of visual representations of gender-stereotyped relationships.
Feminist artists began to explore women's spaces, using metaphors to create large installations like The Dinner Party by Judy Chicago. Chicago's installation created a large triangle table with genital imagery on the ceramic plates celebrating famous women in history. In the last 30 years, feminism has created opportunities for female artists regardless of if they are feminists or not (Freedman, 2000). The famous art historian Linda Nochlin published the influential "Why have there been no great female artists?"[3]
The Guerrilla Girls were an American group of women activists exposing the domination of white male artists in the art world. Their mission was to elevate women artists and artists of color in the 1980s when a New York Museum exhibited an international painting and sculpture. Only 13 women out of 169 artists were in the exhibit. This disparity became the mantra (7.6.1) to eradicate sexism and racism in the art world.
Judy Chicago (1939-) is an American feminist artist well known for her large collaborative art installation called The Dinner Party. Chicago attended UCLA Art School and quickly became politically active, graduating with a master's in fine arts in 1964. She taught full-time at Fresno State College, teaching women how to express themselves in their artwork. It transformed into a Feminist Art Program and was widely popular with women. Judy Chicago and Miriam Schapiro created a project called the Womanhouse at the California Institute of the Arts, transformed an old house, and created different artistic representations of women's domestic work.
Feminist artists began to explore women's spaces, using metaphors to create large installations like The Dinner Party (7.6.2). Chicago's installation depicted a large triangle table with genital imagery on the ceramic plates celebrating famous women in history. The entire project took five years due to the large size, 14.6 by 13.1 by 10.9 meters, with 39 different place settings. An embroidered table runner corresponds to the female figure plate and is set with silverware and a goblet. The inspiration for the Dinner Party was devised during a male-dominated dinner party Chicago attended. She felt women needed to be recognized at the table as well since they are mostly overlooked. The 39 plates represent historical or mythical female figures set like the Last Supper with 13 people on each side of the triangle. Another notable 999 women's names are inscribed in gold on the exhibit floor. The meeting of 39 females was a powerful statement popular with the public; however, it was disparaged by the critics who called it "vaginas on plates."
"The Dinner Party's positive celebration of female bodies and sexuality, its consciousness-raising about women's history and reclamation of women artists, and its subversion and revision of masculinist historical narratives, was an enormous popular success."[5]
Chicago's etched painting Fused Mary Queen of Scots (7.6.3) is a unique blend of fusing, etching, and kiln-fired spray paint that took over a year and a half to develop. Studying stained glass, she came across the Chinese art of painting on glass in sophisticated colors that replicated the look of porcelain. The piece is a mix of yellow and blue radiating spiral lines surrounded by a light purple frame with handwritten words. Mary Queen of Scots was an ambitious woman and held the title of Queen of Scotland, a title she acquired at six days old after her father died. She was found guilty of a plot to kill Queen Elizabeth and was beheaded shortly afterward, generating a divisive and highly romanticist historical character from the 16th century. The work brought ceramics forward from a craft to fine art using technical skills.
Barbara Kruger (1945-) is an American Feminist Artist who produced black and white photographs with declarative captions in red and white. She is a Distinguished Professor at the UCLA School of the Arts and Architecture. Kruger creates large-scale digital installations combining photography and collage. "Overlaid with provocative graphics on authority, identity, and sexuality, her work confronts the power of mass media."[6] The silkscreen painting, Untitled (Your Body is a Battleground) (7.6.5), was originally a poster for a 1989 pro-choice march in Washington D.C. The poster depicts the artist's opinion about gender inequality. The black and white photographs are images of women from the 1950s contrasted with bold white text on red backgrounds. Focusing on the heated topic of reproductive rights, the text begins with 'Your' signaling the unification of women around America, telling the patriarchal society about the feminist struggle. Unfortunately, art from the 1970s is still a battleground in the 21st century.
Over the next two decades, Kruger focused on installations that immersed the viewer into the art. Belief+Doubt (7.6.6) fills the museum's lower level with a bold color scheme of black and white with splashes of red for emphasis. She focused on the themes of democracy, money, power, and belief, filling the entire space with text-printed vinyl immersing viewers into a world of text they must read, introducing doubt through questions. Kruger's visual communication began in her early career as a designer, and it carried on throughout her work for decades. The language of pop culture in magazines utilizes brief short sentences to convey messages and Kruger used the persuasive power of pop culture's images in her art.
Kruger became famous for her aphoristic declarations of feminist principles married with large photomontages. Untitled (Now You See Us) (7.6.7) is a change from the black, white, and red art and includes a deep lemon yellow in place of the white. The yellow represents a lightbulb glowing bright yellow against a dark grey background. The direct yellow words are still against a red background in large font, while the second declaration is small, on the bottom, and red against a dark grey background.
As technology exploded, Schneemann experimented with laser printers creating painted prints of vulva images, part of the female genitalia. Vulva's Morphia (7.6.9) is a set of thirty-six pieces of art displayed in a clear plexiglass display. The in-your-face up-front rudeness of the imagery is balanced by a bitterly ironic text: "Vulva recognizes the symbols and names on graffiti under the railroad: slit, snatch, enchilada, beaver, muff, coozie, fish and finger pie . . . Vulva deciphers Lacan and Baudrillard and discovers she is only a sign, a signification of the void, of absence, of what is not male . . . (she is given a pen for taking notes)".[8]
A visual grid with text, Vulva's Morphia are depictions of vulvas from an artist's point of view. The surrounding text is statements such as "Vulva decodes feminist constructivist semiotics and realizes she has no authentic feelings at all; even her erotic sensations are constructed by patriarchal projects, impositions, and conditioning." [9] Schneemann is taking back the female body and endorsing its powers without limits. For decades, she created art that challenged boundaries, attacked societal taboos, and kept it in our faces to ensure we do not forget.
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