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Journal articles on the topic 'Feminist art criticism'

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Published: 4 June 2021

Last updated: 30 July 2024

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1

Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (February 25, 2020): 28. http://dx.doi.org/10.3390/arts9010028.

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This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

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2

Deepwell, Katy. "The Politics and Aesthetic Choices of Feminist Art Criticism." Arts 12, no. 2 (March 23, 2023): 63. http://dx.doi.org/10.3390/arts12020063.

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This article explores feminist art criticism from the point of view of aesthetics/politics in global contemporary art. It is based on the author’s experience as an art critic and founding editor of n.paradoxa: international feminist art journal (1998–2017). Reading articles published in the previous two decades both for the journal and outside it, it became possible to identify how subjects produce specific objects in art criticism that demonstrate different locations and standpoints in thought and how these align with criticism from broader feminist political theories. This is an exploration of the aesthetics/politics both in, about and beyond feminist art criticism. The methodology presented analyses feminist art criticism using a model of clusters of concepts that draws on Anne Ring Petersen’s examination of identity politics, race and multiculturalism from 2012. Feminist analyses in which this approach has been attempted are discussed: Sue Rosser’s 2005 analysis of cyberfeminism and Tuzyline Jita Allan’s 1995 discussion of black/womanist/African feminisms. The article identifies four types of feminist art criticism: liberal feminism, materialist feminism, feminist cosmopolitan multi-culturalism, and queer post-colonial feminism. The aims, methods and approaches of these tendencies are outlined to demonstrate the differences between them. The article concludes with a discussion about the futures of feminist art criticism.

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3

Frueh, Joanna, and Arlene Raven. "Feminist Art Criticism." Art Journal 50, no. 2 (June 1991): 6–10. http://dx.doi.org/10.1080/00043249.1991.10791436.

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4

Langer, Cassandra L. "Feminist Art Criticism." Art Journal 50, no. 2 (June 1991): 21–28. http://dx.doi.org/10.1080/00043249.1991.10791440.

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5

Deepwell, Katy. "New Feminist Art Criticism." Journal of Aesthetics and Art Criticism 55, no. 3 (1997): 344. http://dx.doi.org/10.2307/431815.

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6

Sisson, Elaine, and Katy Deepwell. "New Feminist Art Criticism." Circa, no. 74 (1995): 69. http://dx.doi.org/10.2307/25562907.

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7

Dr.Khalid bin Abdul-Aziz al-Saif, Dr Khalid bin Abdul-Aziz al-Saif. "The Philosophical Foundations of Feminism (Presentation & Criticism) And the Impact of that on Islamic Feminism." journal of king abdulaziz university arts and humanities 26, no. 2 (January 12, 2018): 45–72. http://dx.doi.org/10.4197/art.26-2.3.

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Feminist movements are one of the most controversial movements, and these movements would not have been around had it not been for philosophical support. In general, their philosophy is based on postmodern philosophies, which are considered general knowledge of the overall pan of what is raised in feminist criticism. The importance of knowing these Western philosophical foundations of feminism comes to light when unveiling them from the joints of Arab feminist thought where it becomes clear to the critic that Arab feminist thought is only an echo of Western feminist thought.

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8

Simpson, Pamela H., Cassandra Langer, and Sherry Piland. "Feminist Art Criticism, an Annotated Bibliography." Woman's Art Journal 17, no. 2 (1996): 56. http://dx.doi.org/10.2307/1358478.

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9

Failing, Patricia, Joanna Freuh, Cassandra L. Langer, and Arlene Raven. "New Feminist Criticism: Art, Identity, Action." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 225. http://dx.doi.org/10.2307/431560.

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10

Garber, Elizabeth. "Implications of Feminist Art Criticism for Art Education." Studies in Art Education 32, no. 1 (1990): 17. http://dx.doi.org/10.2307/1320396.

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11

Garber, Elizabeth. "Feminist Art Criticism: Issues in Feminist Criticism Written About the Work of May Stevens." Marilyn Zurmuehlen Working Papers in Art Education 8, no. 1 (1990): 13–22. http://dx.doi.org/10.17077/2326-7070.1172.

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12

Frueh, Joanna, and Arlene Raven. "Feminist Art Criticism: Its Demise and Resurrection." Art Journal 50, no. 2 (1991): 6. http://dx.doi.org/10.2307/777154.

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13

Hurst, Cameron. "Doing Feminism: Women’s Art and Feminist Criticism in Australia." Australian and New Zealand Journal of Art 22, no. 2 (July 3, 2022): 218–23. http://dx.doi.org/10.1080/14434318.2022.2143761.

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14

Cui, Shuqin. "Female and feminism." MODOS: Revista de História da Arte 7, no. 2 (June 4, 2023): 301–34. http://dx.doi.org/10.20396/modos.v7i2.8672939.

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The question of “why there have been no great women artists,” initiated by Linda Nochlin in 1971, elicits different responses from art domains in China. In addition, the notions of feminism or feminist art criticism, translated from English and practiced by Chinese artists, create distinct connotations reflective of different gender conditions. Zhu and Xiao, in their Feminisms with Chinese Characteristics, claim that “Chinese feminisms must remain plural because those concepts represent the changing practical consciousness in response to historical and social developments” (Zhu and Xiao, 2021: 1). Dai Jinhua, a Chinese scholar, views feminism as “the search for different worlds and alternative possibilities other than global capitalism” (Dai, 2002: 29). A historical overview of woman and art in China demonstrates a plurality of female and feminism, and this article shows how alternative responses to Nochlin’s question become possible if one views sexual difference and gender politics as a non-binary system in specific historical contexts.

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15

Langer, Cassandra L. "Feminist Art Criticism: Turning Points and Sticking Places." Art Journal 50, no. 2 (1991): 21. http://dx.doi.org/10.2307/777158.

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16

Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.

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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography.

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17

Mihaylova, Stefka. "Whose Performance Is It Anyway? Performed Criticism as Feminist Strategy." New Theatre Quarterly 25, no. 3 (August 2009): 255–73. http://dx.doi.org/10.1017/s0266464x09000438.

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By the 1990s, the feminist contention that gender norms inform the production and reception of art had become widely accepted in academia. Many theatre journalists, however, continued to insist on the possibility of writing about performance from an apolitical, gender-neutral position. This article examines the gendered history of this insistence from the early 1700s to the present, its effects on the production and reception of plays by women, and its implications for theatre scholarship. Focusing on Carolee Schneemann's critique of a masculine bias in art criticism in her performance Interior Scroll and the Guerrilla Girls' actions against gender discrimination in the art world, this article examines strategies adopted by female and feminist journalists in Britain and the US to counter women's inequitable status in art journalism and playwriting. By engaging with the gendered binaries mind–body and text–performance, Schneemann and the Guerrilla Girls help clarify how reviewing practices have informed critical thinking about femininity and performance. In doing so, these artists anticipate poststructuralist feminist critiques of visibility and the performing body. Stefka Mihaylova holds a PhD in Theatre Studies from Northwestern University. Her research focuses on performance theory, especially gender and racial aspects of spectatorship in contemporary American and British feminist and radical theatre and performance art.

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18

Lee, Louisa. "Autotheory as feminist practice in art, writing, and criticism." Journal of Visual Art Practice 20, no. 4 (October 2, 2021): 399–402. http://dx.doi.org/10.1080/14702029.2021.1975424.

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19

Holt, David K. "Feminist Art Criticism and the Prescriptions of Roger Fry." Journal of Aesthetic Education 32, no. 3 (1998): 91. http://dx.doi.org/10.2307/3333309.

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20

Dovgopyat, P. E. "The specificity of functioning of the term feminist art in the art history terminological system." Uchenye zapiski St. Petersburg University of Management Technologies and Economics, no. 4 (January 16, 2023): 306–11. http://dx.doi.org/10.35854/2541-8106-2022-4-306-311.

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The relevance of this study lies in appealing to the problem of developing one’s own microfield on the basis of the art history term feminist art. The article considers for the first time the specifics of the existence of feminist art in the terminology of art history. The purpose of this study is to determine the features of the functioning of feminist art in the art criticism terminological system. The basis of this study are the method of definitional analysis with elements of the semasiological method. In accordance with the put forward in the course of this study hypothesis, feminist art serves as the basis for the formation of a separate microfield within the art history terminological system. As a result, it was established that the term feminist art has a terminological potential — on the basis of this phrase, nomens are formed, as well as new components of the form of the concepts of art history terminology.

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21

Jakubowska, Agata. "Feminism in the Time of Transformation. Piotr Piotrowski, Zofia Kulik and the Development of Feminist Art History in Poland." Artium Quaestiones, no. 33 (December 30, 2022): 261–78. http://dx.doi.org/10.14746/aq.2022.33.10.

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This article is an analysis of one area of Piotr Piotrowski’s (1952–2015) activity in the 1990s – his writings on the art of Zofia Kulik and, more specifically, on its feminist dimension. I argue that although Piotrowski was never interested in women’s art in particular, not only did he practise feminist criticism during this period, but he was also a catalyst for the development of a specific form of feminist reflection that was then new in Polish art history. It focused on power relations and did not accept distancing oneself from social and political problems. I analyse it from the perspective of contemporary revisions of the development of feminist discourse after 1989 in Eastern Europe, which critically examines its embeddedness in Western ideas.

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22

Hagaman, Sally. "Feminist Inquiry in Art History, Art Criticism, and Aesthetics: An Overview for Art Education." Studies in Art Education 32, no. 1 (1990): 27. http://dx.doi.org/10.2307/1320397.

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23

Sprague-Jones, Jessica, and Joey Sprague. "The Standpoint of Art/Criticism: Cindy Sherman as Feminist Artist?*." Sociological Inquiry 81, no. 4 (September 29, 2011): 404–30. http://dx.doi.org/10.1111/j.1475-682x.2011.00385.x.

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24

Whittington, Christine. "FEMINIST ART CRITICISM; AN ANNOTATED BIBLIOGRAPHY (Reference Publications in Art History). Cassandra Langer." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 4 (December 1994): 34. http://dx.doi.org/10.1086/adx.13.4.27948688.

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25

Trevisan, Gabriela Simonetti. "A mulher e a arte: a criação feminina nas palavras de Júlia Lopes de Almeida." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 189–215. http://dx.doi.org/10.22456/2596-0911.103861.

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Este artigo tem como foco uma análise do texto “A mulher e a arte” (sem data), da escritora carioca Júlia Lopes de Almeida (1862-1934). Este escrito, recém-publicado na íntegra pela primeira vez, em revista acadêmica, constitui uma conferência da autora na qual ela expõe suas opiniões sobre o tema da arte de autoria feminina, tecendo uma série de críticas de cunho feminista à desigualdade entre os gêneros no espaço da criação artística. Em seu texto, a literata cita diversos nomes de artistas e intelectuais mulheres, de modo a sustentar seu argumento em defesa da potência criativa feminina e assinalar a importância da transformação da cultura patriarcal. Assim, a partir do olhar historiográfico e embasados pela epistemologia feminista, buscamos ressaltar a conferência como fundamental para o estudo da escrita de autoria feminina e feminista no Brasil entre os séculos XIX e XX.Palavras-chave: Júlia Lopes de Almeida. Literatura. Feminismo. AbstractThis article focuses on an analysis of the text “The woman and the art” (undated), by the writer Júlia Lopes de Almeida (1862-1934), from Rio de Janeiro. This writing, recently published in full for the first time, constitutes a conference in which the author exposes her opinions on the theme of art of female authorship, weaving a series of feminist criticisms of the inequality between genders in the space of artistic creation. In her text, Júlia lists several names of artists and women intellectuals, in order to support her argument in defense of the feminine creative power and point out the importance of the transformation of patriarchal culture. Thus, from the historiographic perspective and based on feminist epistemology, we seek to emphasize the conference as fundamental for the study of female and feminist writing feminists in Brazil between the 19th and 20th centuries.Keywords: Júlia Lopes de Almeida. Literature. Feminism.

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26

Golovchenko, Margaryta. "Autotheory as Feminist Practice in Art, Writing and Criticism, Lauren Fournier." Journal of Curatorial Studies 10, no. 2 (October 1, 2021): 289–91. http://dx.doi.org/10.1386/jcs_00051_5.

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27

Zarytska, Olena. "FEMINIST ART GRIZELDY POLLOK AS A CHALLENGE TO THE ART OF THE PAST." Sophia. Human and Religious Studies Bulletin 17, no. 1 (2021): 40–44. http://dx.doi.org/10.17721/sophia.2021.17.8.

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The theoretical work of one of the founders and leading figures of modern feminist art Griselda Pollock is considered. Representing researchers whose ideas were shaped by the radical cultural and social revolution of the 1960s and 1970s, she belongs to the second generation of feminist art criticism. The author points to the eclectic methodological position of G. Pollock, which combines a number of areas associated with its "radicalism" in relation to the classical areas of art history and social thought. In particular, it is Marxism, poststructuralism of R. Bart and M. Foucault, Freudian psychoanalysis etc. Methodological eclecticism G. Pollock suggests that the leading in her work is her ideological attitude, rather than research position. Although G. Pollock's theoretical constructions are formally based on specific biographical and art studies of artists of the past, methodological eclecticism does not allow to characterize them as scientific or at least consistently logical in their construction. The author concludes that substantively, the concept of G. Pollock is based on the interpretation of female (and male) principles in the artist's work as a gender category, defined by the prevailing social roles and stereotypes in society. G. Pollock uses the concept of "bourgeoisie" in relation to the culture of the masculine society of the past; attempts to develop the concept of "death of the author" by R. Bart in the interpretation of the socially determined figure of the artist (on the example of W. Van Gogh); quite arbitrarily uses the apparatus of Freudian psychoanalysis to read ("deconstruct") works of art, in particular, paintings by W. Van Gogh and A. de Toulouse-Lautrec. Thus, G. Pollock turns feminist art criticism into an ideological platform for the development of a range of ideological and theoretical currents, united by their radicalism and opposition to classical art and the ideological foundations of modern civilization as a whole.

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Fornari López, Marcelo. "Autotheory as Feminist Practice in Art, Writing, and Criticism, Lauren Fournier." Lectora: revista de dones i textualitat, no. 29 (October 31, 2023): 246–48. http://dx.doi.org/10.1344/lectora2023.29.17.

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29

Oliveira, Maria Aparecida de. "VIRGINIA WOOLF E A CRÍTICA FEMINISTA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 18–27. http://dx.doi.org/10.34019/1982-0836.2019.v23.29177.

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O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina. Palavras-chave: Crítica feminista, Judith Shakespeare, tradição literária feminina. Referências AUERBACH, E. Brown Stocking. In: ______. Mimesis: a representação da realidade na literatura ocidental. São Paulo: Perspectiva, 1971. BARRETT, M. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993. ______ (ed.). Women and writing. London: The Women’s Press, 1979. BOWLBY, R. Feminist destinations and further essays on Virginia Woolf. Edinburgh: Edinburgh University, 1997. ______. Walking, women and writing: Virginia Woolf as flâneuse. In: ARMSTRONG, I. (ed.). New Feminist discourses: critical essays on theories and texts. London: Routledge, 1992. CAUGHIE, P. L. Virginia Woolf & postmodernism literature in quest and question of itself. Urbana: University of Illinois, 1991. COELHO, N. N. Dicionário crítico de escritoras brasileiras. São Paulo: Escrituras, 2002. ______. A literatura feminina no Brasil contemporâneo. São Paulo: Siciliano, 1993. GILBERT, S. Woman’s Sentence. Man’s Sentencing: Linguistic Fantasies in Woolf and Joyce. In: MARCUS, J. Virginia Woolf and the Bloomsbury: A Centenary. Bloomington: Indiana UP, 1987. GILBERT, S.; GILBERT, S. Shakespeare’s sisters: feminist essays on women poets. Bloomington: Indiana University, 1979. ______. The madwoman in the attic: the woman writer in the nineteenth-century literary imagination. New Haven: Yale University, 2000. ______. The war of words. vol.1 of No man’s land: the place of the woman writer in the twentieth century. New Haven: Yale University, 1988. HUSSEY, M. Virginia Woolf: A to Z. New York: Oxford University, 1995. JONES, S. Writing the woman artist: essays on poetics, politics, and portraiture. Pennsylvania: University of Pennsylvania, 1991. MARCUS, J. Art and anger: reading like a woman. Columbus: Ohio State University, 1988. ______. Virginia Woolf and the languages of the patriarchy. Bloomington: Indiana University, 1987a. MINOW-PINKNEY, M. Virginia Woolf and the problem of the subject: feminine writing in the major novels. New Brunswick: Rutgers University, 2010. MOERS, E. Literary women: the great writers. New York: Doubleday, 1976. MUZART, Z. L. Escritoras brasileiras do século XIX. Florianópolis: Mulheres, 2005. OLSEN, T. Silences. New York: Seymour Lawrence, 1978. RICH, A. Of woman born: motherhood as experience and institution. New York: W W. Norton, 1995. ROSENBAUM, S.P. Women and fiction: the manuscript versions of A room of one’s own. Oxford: Blackwell, 1992. SHOWALTER, E. Feminist criticism in the wilderness. In: GILBERT, S.; GUBAR, S. Feminist literary theory and criticism. New York; London: W. W. Norton, 2007. SNAITH, A. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Oxford: Oxford University, 2015. STETZ, M. D. Anita Brookner: Woman writer as reluctant feminist. In: ______. Writing the woman artist: essays on poetics, politics and portraiture. Pennsylvania: University of Pennsylvania, 1991. WALKER, A. In search of our mother’s gardens. In: ______. In search of our mother’s gardens: womanist prose. San Diego: Harcourt Brace Jovanovich, 1983. WOOLF, V. A room of one’s own and Three guineas. Introd. Anna Snaith. Oxford: Oxford University, 2015. WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.

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Solís Pérez, Marlene, and Patricio Juárez Flores. "The Poetics of Pleasantness: A Relational Dance Project and Artifact of Feminine Resignification." Revista culturales 11, Vol. 11. 2023 (August 8, 2023): 1–31. http://dx.doi.org/10.22234/recu.20231101.e738.

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The objective of this article is to present an analysis of the relational dance project The poetics of pleasantness, considering that this creative process and the product constitute an artifact of feminine resignification and a personal transformative rite, given that this scenic proposal elaborates with criticism on pleasantness as a mandate of hegemonic femininity. We propose that this initiative is inserted in the recent feminist approaches about care, the need for personal deconstruction and the formation of an affective community among women. Based on a qualitative methodology, the video art of the work as the interviews with the participants in the project are analyzed. The conclusions suggest that the symbolic efficacy of the scenic proposal resides in its congruence with feminist stakes and in the representation of a feminine ethos built collectively during the creation process.

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31

Sohm, Philip. "Gendered Style in Italian Art Criticism from Michelangelo to Malvasia*." Renaissance Quarterly 48, no. 4 (1995): 759–808. http://dx.doi.org/10.2307/2863424.

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Did the concept of style have gender? Were the styles of particular Renaissance painters considered to have gendered qualities by contemporary critics? Because gender permeated the rhetorical and philological foundations of art criticism, it can provide a useful interpretive lens to examine the critical arsenal of writers on art, their attitudes toward style and the subterranean bias of their language. Feminist art history has grappled with gender more in terms of iconography, biography, or patronage following a social agenda to analyze a misogynist past and to remedy the marginalization of women in modern art historiography. An exceptional study by Elizabeth Cropper in 1976 broached the question of gender in aesthetics by reconstituting a complex history of love and beauty that converged in treatises on beautiful women.

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32

Shrage, Laurie. "Feminist Film Aesthetics: A Contextual Approach." Hypatia 5, no. 2 (1990): 137–48. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00422.x.

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This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,

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33

Eaton, A. W. "Where Ethics and Aesthetics Meet: Titian's Rape of Europa." Hypatia 18, no. 4 (2003): 159–88. http://dx.doi.org/10.1111/j.1527-2001.2003.tb01417.x.

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Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument—that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic—demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

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34

Walker, Harriet. "A Feminist Study of African American Art in New Orleans: Considerations of Aesthetics, Art History and Art Criticism." Marilyn Zurmuehlen Working Papers in Art Education 14, no. 1 (1997): 30–35. http://dx.doi.org/10.17077/2326-7070.1305.

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35

Buszek, Maria Elena. "Mirror, Mirror: Joanna Frueh as Fairy Stepmother." TDR/The Drama Review 55, no. 2 (June 2011): 104–13. http://dx.doi.org/10.1162/dram_a_00073.

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For over 20 years, scholar and performance artist Joanna Frueh has been a pioneering force in feminist art and criticism. In homage to Frueh's “erotic scholarship,” Frueh's own writing and performances concerning relationships between women are interwoven with a biographical history of the author and the artist's own student/teacher relationship.

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36

Lang Qianwen and Lilian Lee Shiau Gee. "A STUDY OF FEMALE IMMORTAL IMAGES IN THE "CHAOYUAN XIANZHANG TU"（朝元仙仗图) FROM THE PERSPECTIVE OF THE MYTHIC-ARCHETYPAL CRITICISM." Jurnal Gendang Alam (GA) 14, no. 1 (June 26, 2024): 100–114. http://dx.doi.org/10.51200/ga.v14i1.5185.

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This paper intends to apply the mythic-archetypal critique to study the concept archetypes of human collectives and the archetypes in Taoist literature and mythology corresponding the feminine immortal images in the "Chaoyuan Xianzhang Tu." By means of image and word juxtaposition, the study investigates the emotional impacts of female immortal images on modern audiences as well as their contribution to current feminist movements. Aiming to clarify the several metaphors and underlying logic of the development of Taoist female immortal images as a symbolic system, this study analyses the Song Dynasty Taoist painting "Chaoyuan Xianzhang Tu," based on the mythic-archetypal criticism, attempting to visually reproduce mythological archetype images in the portrayal of characters in the image. The study examines the various metaphors in Taoist imagery related to the mythic-archetypal perspective, forming three hierarchical functions: "Great Mother Goddess- The Queen Mother of the West (王母) - Flowers and Fruits," "Anima-Female Immortal Worship-Female Immortal Head Portrayal," and "Eternal Life-Feathered Being-feathered sleeves," all of which allude to the ideological implications of Taoist female immortal worship. Frequently, the symbolic, artistic, and meaningful aspects of Taoist art surpass the literal intent of the surface. The "myth-archetype" theory can be used to interpret these images, thereby guiding contemporary viewers to obtain insights into themselves through Taoist visual arts and providing a potential solution to death anxiety. Additionally, the interpretation of female immortal images offers a novel possibility: the integration of yin and yang, which eliminates traditional male dominance and the concomitant "one-sided, self-centered" feminism. This perspective is applicable to the development of contemporary feminist theory. Keywords: Taoist painting, female immortal images, mythic-archetypal, feminist movements,

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Sperber. "Contemporary Orthodox Jewish Feminist Art in Israel: Institutional Criticism of the Rabbinical Establishment." Shofar 38, no. 2 (2020): 191. http://dx.doi.org/10.5703/shofar.38.2.0191.

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Sperber, David. "Contemporary Orthodox Jewish Feminist Art in Israel: Institutional Criticism of the Rabbinical Establishment." Shofar: An Interdisciplinary Journal of Jewish Studies 38, no. 2 (2020): 191–227. http://dx.doi.org/10.1353/sho.2020.0027.

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Zakinszky-Toma, Viktoria. "Gynocritical Analysis of Dead Women by Anna Terék." Philologica Jassyensia 37, no. 1 (June 28, 2023): 155–62. http://dx.doi.org/10.60133/pj.2023.1.11.

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The gynocritical study of Anna Terék’s latest book of poems, Dead Women (2017) is an analysis based on the outline of a subcultural framework of feminine experience. The string of poems is narrated by women in times of war, sickness, adultery, cruelty and aggression. The poems are told by women from an unconventional perspective. The traumas of the characters are persistent and cannot be overcome in a lifetime, thus they are “dealt with” after their death. This way Terék touches upon a key element of feminist criticism, “the art of dying”. Suicide appears as a solution, as well as something natural and an act of free choice. Another topics that emerge in the poems are matrophobia, adultery, identity, patriarchal relations. Along with the intrinsic analysis of Terék’s poetry, the paper also touches upon the ideology and history of development of the female literary tradition, biological determinism and limitations of gynocriticism.

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Goh, Talisha. "FROM THE OTHER SIDE: FEMINIST AESTHETICS IN AUSTRALIAN MUSICOLOGY." Tempo 74, no. 292 (March 6, 2020): 21–29. http://dx.doi.org/10.1017/s0040298219001141.

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AbstractThe rise of new musicology and feminist music criticism in the 1980s prompted a rethinking of gender in Australian art music spheres and resulted in over a decade of advocacy on behalf of women music makers. Local musicological publications began to cover feminist concerns from the late 1980s, with a focus on composing women. Catalysed by the proliferation of feminist musicology internationally in the 1990s, a series of women's music festivals were held around Australia from 1991–2001 and accompanied by conferences, symposia and special-issue publications. Aesthetic concerns were at the forefront of this debate as women musicologists and practitioners were divided on the existence of a gendered aesthetic and the implications this might have. This article examines the major feminist aesthetic contributions and debates at the time and how these considerations have impacted music-making practices, with particular reference to women composers of new music.

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Greenan, Althea. "How images are the making of the Women’s Art Library/Make." Art Libraries Journal 32, no. 1 (2007): 5–10. http://dx.doi.org/10.1017/s0307472200014796.

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When a group of women artists decided to organise their slides to inspire others to document themselves and raise the visibility of women’s art, they could not have known that several decades later those slides would still be together, forming the core of an internationally significant research resource. How did this idea of gathering together images transform a women’s art group – in the 1980s these were almost as common as book groups are today – into the Women’s Art Library/Make collection? Historically rooted in gender politics and the subsequent emergence of a radicalised women’s art practice and feminist art criticism, WAL/Make is an exciting ‘work in progress’. Now based in Goldsmiths, University of London it is being developed as a key special collection by the Library.

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Chamarette, Jenny. "‘A long meandering slide’: Feminist critique, genderqueerness, sexual agency and Crip subjectivity in Stephen Dwoskin’s late works." Moving Image Review & Art Journal (MIRAJ) 11, no. 1 (April 1, 2022): 10–33. http://dx.doi.org/10.1386/miraj_00081_1.

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Stephen Dwoskin was a prolific experimental filmmaker from the mid-1960s until his death in 2012. Commonly associated with the New York underground film scene and the London Filmmakers’ Co-Op, which he co-founded in 1966, Jewish-American Dwoskin was also a childhood survivor of polio and a disability rights activist. Though an enduring oral legacy of feminist criticism of Dwoskin’s work remains since the 1980s, Dwoskin’s later work from the 1990s and 2000s is acutely understudied. In this article, I recontextualize earlier feminist positions in light of the ‘cripping’ of sexuality and gender proposed by recent critical disability studies, applied to two of Dwoskin’s later works. Adopting archival evidence of feminist critique, feminist art histories and Crip approaches to sexuality, I examine androgyny and genderqueerness in Dwoskin’s photomontages from Ha, Ha! La Solution Imaginaire (1993) and conflations of critical medical and BDSM-structured care in the film Intoxicated by My Illness (2001). I conclude that Dwoskin’s work invites rich epistemological re-evaluation of both feminist critique and entrenched sociocultural conceptions of gendered subjectivity, intimacy and sexual agency.

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FAILING, PATRICIA. "Joanna Freuh, Cassandra L. Langer, and Arlene Raven, Eds., New Feminist Criticism: Art, Identity, Action." Journal of Aesthetics and Art Criticism 53, no. 2 (March 1, 1995): 225–26. http://dx.doi.org/10.1111/1540_6245.jaac53.2.0225.

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Yui, Wei. "Chinese Women’s Art." Культура и искусство, no. 5 (May 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.

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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.

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Ciobanu, Estella Antoaneta. "Food for Thought: Of Tables, Art and Women in Virginia Woolf’s To the Lighthouse." American, British and Canadian Studies 29, no. 1 (December 20, 2017): 147–68. http://dx.doi.org/10.1515/abcsj-2017-0023.

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Abstract This article examines art as it is depicted ekphrastically or merely suggested in two scenes from Virginia Woolf’s novel To the Lighthouse, to critique its androcentric assumptions by appeal to art criticism, feminist theories of the gaze, and critique of the en-gendering of discursive practices in the West. The first scene concerns Mrs Ramsay’s artinformed appreciation of her daughter’s dish of fruit for the dinner party. I interpret the fruit composition as akin to Dutch still life paintings; nevertheless, the scene’s aestheticisation of everyday life also betrays visual affinities with the female nude genre. Mrs Ramsay’s critical appraisal of ways of looking at the fruit - her own as an art connoisseur’s, and Augustus Carmichael’s as a voracious plunderer’s - receives a philosophical slant in the other scene I examine, Lily Briscoe’s nonfigurative painting of Mrs Ramsay. The portrait remediates artistically the reductive thrust of traditional philosophy as espoused by Mr Ramsay and, like the nature of reality in philosophical discourse, yields to a “scientific” explication to the uninformed viewer. Notwithstanding its feminist reversal of philosophy’s classic hierarchy (male knower over against female object), coterminous with Lily’s early playful grip on philosophy, the scene ultimately fails to offer a viable non-androcentric outlook on life.

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Lutsyshyna, Dariia. "Промени в методологията за изследване на съвременното изкуство на Украйна: представяне на женствеността." Visual Studies 6, no. 1 (June 29, 2022): 35–42. http://dx.doi.org/10.54664/cjqf5839.

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The article discusses the shift from the methodology of the Soviet totalitarian period in Ukrainian art history to the modern methods that are more appropriate for the interpretation of contemporary Ukrainian art. The analysis showed that, during the Soviet period, art and art history in Ukraine were under strict ideological and political control. Art history and criticism were widely used as a means of ideological propaganda, and therefore art studies could not fully represent and interpret art. A considerable part of the art phenomena was ignored by researchers due to the hierarchy of trends and genres of art established in the USSR; art historians had to assess the “validity” of an artwork or an artist according to the official ideology. The variety of methods and research instruments was limited and insufficient for the research of contemporary Ukrainian art, including feminist art. The creative work of the Ukrainian female artist Alina Kopytsa is shown as an example in order to demonstrate the expedience of modern approaches, which are still not common for Ukrainian art history. Thus, a wider range of methods and approaches is regarded as the means to develop an effective methodological background, and to provide a better understanding of contemporary Ukrainian art.

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Luengo Aguirre, Maite. "Irudikapenetik esperientziara: euskal literaturaren ikerketa feministaren hastapenak XX. mendearen bukaeran." Fontes Linguae Vasconum, no. 133 (June 30, 2022): 115–30. http://dx.doi.org/10.35462/flv133.4.

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From the 80s on, contributions to Basque literary criticism and research from feminist perspectives began to appear. An analysis of this tendency has been made through three publications: Hogoigarren mendeko emakumeak idazle: antologia eta ohar batzuk by Itxaro Borda (1984), the Emakumea eta literatura issue of the journal Jakin (1987) and Linda White’s thesis Emakumeen hitzak euskaraz: Basque Women Writers of the Twentieth Century (1996). Moreover, we have compared these three sources to existing analogous trends in anthropology and art. We emphasize that they proposed a turn from the archetypical to actual experience, based on the diversity of female experiences.

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Vaneyan, S. S. "The Apocalypse of John: the architectural symbolism of visual exegesis." Russian Journal of Church History 2, no. 1 (April 16, 2021): 53–70. http://dx.doi.org/10.15829/2686-973x-2021-1-51.

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A hermeneutic literary criticism of the last text of the New Testament canon can be complemented by an architectural criticism of metaphorical and rhetorical structures and plots, presented as an ultimate resolution to fundamental problems, posed both by the kerigma and by the Hellinised religious experience of the Old Testament (apocalyptic and epistolary genres). The text of the Revelation has staging structures that imply its performative reading, and suggested radical eschatological ways of resolving conflicts allow for equally radical exegetic methods, with a feminist orientation, for example. Analytical metaphors that we have employed, taken from the arsenal of art history, such as ‘polyptich’ or ‘non-figurative painting’, prompt us to use an experimental paradigm of diagrammatics: a visualization of compositional schemata as the equivalents of a cognitive apparatus. The hearer/reader has the opportunity to set off on an eschatological journey with the author of the Revelation but also to have an epistemological walk with its exegetes and commentators.

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Raphael, Melissa. "Idolatry and Fixation: Modern Jewish Thought and the Criticism of Cosmetically and Technologically Perfected Female Faces in Contemporary Popular Culture." International Journal of Public Theology 7, no. 2 (2013): 135–56. http://dx.doi.org/10.1163/15697320-12341278.

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Abstract This article argues that the ‘halakhically’ (legally) governed representational techniques employed by Jewish art are founded upon a counter-idolatrous theology of appearance: both human and divine. In drawing upon a range of Jewish sources from the ancient to the contemporary period that understand idolatry as an estrangement of the world from God, this article presents a Jewish feminist theological critique of alienation in the late modern popular visual regime, while suggesting that it is nonetheless possible for public culture to behold the divine image in images of the human without such images becoming idolatrous.

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Expósito de Vicente, Cristina. "Visual Exegesis of Herodias and Salome from Feminist Rhetorical Criticism: The Construction of a Myth." Religions 15, no. 3 (March 8, 2024): 328. http://dx.doi.org/10.3390/rel15030328.

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The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess’s dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist to King Herod, instigated by his mother Herodias. The reading of this passage has been strongly marked by the different patriarchal exegetical approaches, which have modulated the reception of both female characters being traceable through the visual and literary arts, to the point of taking on the concept of femme fatale. Really, in both moments Salome is the executor of the actions, not as a result of her capacity for agency, but due to her influenceable character. Through a critical–historical analysis of the biblical passage, Herodias and Salome emerge with characteristics quite different from what 19th-century Art History inherited. The methodology of feminist rhetorical criticism allows for an approach to the visual re-imaginings of this biblical passage that have shaped the iconography of these two figures. The field of visual arts, particularly the production of the late 19th and early 20th centuries, will be the great receptacle for the genesis of the fatality and assimilation of these female biblical figures.

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