Academic literature on the topic 'Women artists Australia Exhibitions History'
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Journal articles on the topic "Women artists Australia Exhibitions History"
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Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (December 28, 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.
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This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
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Styrna, Natasza. "Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)." Studia Judaica, no. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.
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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of artists was rarely mentioned, except in some cases. The artists also belonged to other non-Jewish art groups. Most of them survived the war, but none of them remained in Kraków. Three of them were killed.
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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.
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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.
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Tejeda Martín, Isabel. "Exposiciones de mujeres y exposiciones feministas en España. Un recorrido por algunos proyectos realizados desde la II República hasta hoy, con acentos puestos en lo autobiográfico = Women’s Exhibitions and Feminist Exhibitions in Spain: A Journey Through some Projects Carried out Since The 2nd Republic until the Present, with some Biographical Highlights." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 29. http://dx.doi.org/10.5944/etfvii.8.2020.28770.
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Este artículo repasa la historia de las exposiciones de mujeres en España desde los años treinta, como precedente de las primeras exposiciones feministas de los años noventa, contextualizándolas en su momento político. Profundiza en algunos de los proyectos comisariados por la autora, en los que rescata a artistas ignoradas por las historias del arte contemporáneo, especialmente las artistas Pop de los años sesenta, como pioneras del arte feminista.AbstractThis essay examines the history of women’s exhibitions in Spain since the 1930s, considering said shows as a precedent for the first feminist exhibitions in the 1990s, and providing them with a context within their political time. This text delves in some of the projects curated by the author, in which she rescued a number of women artists who had been ignored by the usual histories of contemporary art –especially the female Pop artists from the 1970s– as pioneers of feminist art.
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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.
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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.
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Yongbai, Tao. "Off the Margins." positions: asia critique 28, no. 1 (February 1, 2020): 65–86. http://dx.doi.org/10.1215/10679847-7913054.
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This article offers a chronological survey of the development of women’s art in China between 1990 and 2010. Outlining the historical circumstances that first resulted in the dearth of a female consciousness in Chinese art until the end of the twentieth century, this article touches on the divergent roots of the women’s liberation movement and western feminism, the Maoist era’s negation of femininity, and the lingering patriarchal structure of art institutions. It was only after a series of groundbreaking exhibitions exploring the female psyche in the 1990s that women artists found a space to voice their female subjectivities, and still they struggled to resist the slippery essentialism of a “women’s art” fad. The new millennium saw women artists expanding their thematic horizons, breaching important political and social issues as well as such subjects as ecology, astronomy, gemology, and urbanization, with many forgoing the label of feminist—or even women’s—art. Each sought to transcend the limitations of personal experience and achieve a greater human resonance. This study examines the work of thirteen women artists whose careers are relatively unknown in the English language, ultimately delving into the complex relationships among sex, gender, humanity, and art in contemporary China.
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Kummerfeld, Rebecca. "Ethel A. Stephens’ “at home”: art education for girls and women." History of Education Review 44, no. 2 (October 5, 2015): 203–18. http://dx.doi.org/10.1108/her-04-2013-0013.
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Purpose – The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students. Design/methodology/approach – Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women. Findings – Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman. Originality/value – This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.
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Perry, Lara, and Elke Krasny. "Against Sexual Violence in the Museum: Art, Curating, and Activism." Journal of Cultural Analysis and Social Change 7, no. 2 (December 30, 2022): 11. http://dx.doi.org/10.20897/jcasc/12752.
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Depictions of sexual violence are frequently found in the collections and displays of art museums, and material that represents and affirms violence against women often is displayed unchallenged. This article poses questions about how the presence of this material has been addressed in the relations between feminist activism against sexual violence, art made by artists responding to and participating in feminist activism, and the curatorial activities that have arisen to address the challenges that these activities present to art museums. The chapter investigates the 2021 exhibition <i>Titian: Women, Myth and Power</i> at the Isabella Stewart Gardner Museum and its handling of themes of rape in the central exhibit, Titian’s <i>Rape of Europa</i>; the history of themes of rape in feminist art since the 1970s and in exhibitions of this art that have taken place in museums in the last two decades; and curatorial engagements with sexual violence and rape in recent art exhibitions in the US and in the UK. The article argues that new strategies for the presentation and interpretation of artworks dealing with sexual violence are needed for museums to redress the patriarchal and colonial presence of sexual violence in their collection.
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Voronina, Olga A. "WOMEN AND FINE ARTS: A GENDER ANALYSIS." Yaroslavl Pedagogical Bulletin 116, no. 5 (2020): 217–24. http://dx.doi.org/10.20323/1813-145x-2020-5-116-217-224.
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The article disputes traditional views on the status of women in the visual arts. Methodologically, the text is based on the theories of social constructivism, social and symbolic capital, modern history of fine art and gender approach. The author considers art as a social institution, and an artistic work as something with aesthetic and economic value. This allows us to deconstruct the myth of women's lack of artistic abilities convincingly. Institutionally, this mythology was supported by the refusal of women to receive professional education in fine arts, and ideologically justified by the role of the Muse, allegedly inspiring men to true creativity. This subject-object dichotomy set the structure of power relations between the Artist and his repressed «object of veneration», while ignoring the various relationships of women with fine arts or evaluating their creativity as marginal. This concept was formed in the era of mass production of artistic works, when the cost of work was determined not so much by its aesthetic qualities, but by many other factors. And one of them is the traditional hierarchy of men and women in culture, which leads to underestimation of women's artistic creativity in economic terms and alienation of women from the active creative process. Attempts of women to present a different view of yourself and your place in the world (a woman is existentially different in western culture) come across symbolic designation of the feminine as secondary and marginal. Even today, when women рфму professional education and participate in exhibitions, their positions and status remains more vulnerable than that of male-artists. This is due to existing gender stereotypes and institutional barriers. Professional recognition of woman is often achieved at the cost of a symbolic rejection of self-representation as a female artist and identification with masculine models of creativity. Overcoming this situation is impossible without the artistic community's acceptance of the principles of freedom of expression and gender equality.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
Dissertations / Theses on the topic "Women artists Australia Exhibitions History"
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Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
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Introduction:
I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms
that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170)
As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been
acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on
women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community
who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive
advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the
social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.
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Topliss, Helen. "Australian female artists and modernism, 1900-1940." Phd thesis, 1992. http://hdl.handle.net/1885/133859.
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The thesis provides a revaluation of the art of Australian women artists in the
period 1900-1940. In the first instance, this study attempts to answer the
question posed by a number of male historians: "Why were there so many
succesful Australian women artists in the period between the two world wars?"
My answer has involved the analysis of three major phenomena:
1. The women's emancipation movement which enfranchised women and
gave them the key to education and subsequently to the professions.
2. The women artists of the early twentieth century were the direct benefactors
of the women's movement, the confidence that the new woman acquired
enabled her to continue her studies abroad for the first time in significant
numbers.
3. Women artists became identified with modernism and also for their
contribution to the arts and crafts movement. Critics have noted that there was
a large proportion of women artists involved with various aspects of the
modernist movement. The question has not been examined before in
Australian art because there has not been any enquiry into their collective
artistic genealogies, nor has the interconnectedness of much of their art been
noticed before. When this is analysed, it becomes clear that women had a
special affinity with aspects of modernism because of their gendered artistic
education in the nineteenth century which rendered them particularly sensitive
to some aspects of modernism. This is clear in most of the case studies of the
women artists whose careers I examine here.
My study has been conducted from the point of view established by certain
feminist critics and art historians whose theories have provided an important
perspective on the art of this period. This perspective is a necessary one, it
hinges on the concepr of "difference" in women's artistic expression. This
theory of "difference" also provides a parallel to the sociological study of women's liberation at the beginning of this century (the data for which IS
provided in the Appendices at the end of the thesis). The theory of "difference"
can be seen to link up with an analysis of gendered art education and thus
facilitates an understanding of why it was that so many women readily
pursued the criteria for modernist art.
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Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.
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This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009
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Northfield, Sally. "Canvassing the emotions : women, creativity and mental health in context." Thesis, 2014. https://vuir.vu.edu.au/29985/.
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Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making?
The thesis presents the findings of three studies: The Exhibition – a touring exhibition of art produced by women with an experience of mental ill-health; The Interviews – with thirty-two women who make art and who have experienced mental ill-health; and The Collage – a collation of women’s accounts of – what does art do?
Books on the topic "Women artists Australia Exhibitions History"
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Queensland Art Gallery. Gallery of Modern Art, ed. Contemporary Australia: Women. South Brisbane, Qld: Queensland Art Gallery, 2012.
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Ebeltoft, Glasmuseum. Ausglass: An exhibition of glass art by 16 artists from Australia. Ebeltoft: Glasmuseum, 1995.
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C, Bishop Janet, and Mills College Art Museum, eds. Take 2: Women revisiting art history. Oakland, Calif: Mills College Art Museum, 2007.
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Women of flowers: Botanical art in Australia from the 1830s to the 1960s. Canberra: National Library of Australia, 2009.
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Libraries, Florida Atlantic University, ed. Women of the book: Jewish artists, Jewish themes. [Boca Raton, Fla.]: Friends of the Libraries, FAU Library, 2001.
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Kate, Darian-Smith, and Monash University ePress, eds. Seize the day: Exhibitions, Australia and the world. Clayton, Vic: Monash University ePress, 2008.
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(Sweden), Nationalmuseum, ed. Stolthet & fördom: Kvinna och konstnär i Frankrike och Sverige, 1750-1860. Stockholm]: Nationalmuseum, 2012.
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Rollenwechsel: Künstlerinnen in Schlesien um 1880 bis 1945 : Schlesisches Museum zu Görlitz, 5.9.2009-28.2.2010. Görlitz: Oettel, 2009.
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1963-, Dever Maryanne, ed. Wallflowers and witches: Women and culture in Australia, 1910-1945. St. Lucia, Qld., Australia: University of Queensland Press, 1994.
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Wolff, Ann. Betragtninger: Observations. [Ebeltoft]: Glasmuseets forlag, 2005.
Find full textConference papers on the topic "Women artists Australia Exhibitions History"
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.
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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.