Journal articles: 'Women artists Australia History'

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Kevin, Catherine. "So Fine. Contemporary Australian Women Artists Make History." History Australia 16, no. 1 (January 2, 2019): 212–14. http://dx.doi.org/10.1080/14490854.2019.1582410.

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Szabó, Marianna, Mitchell L. Cunningham, Mark Seton, and Ian Maxwell. "Eating Disorder Symptoms in Australian Actors and Performing Artists." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 171–78. http://dx.doi.org/10.21091/mppa.2019.4028.

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AIMS: Anecdotal evidence suggests that actors and other performing artists are under great pressure to conform to idealized appearances and body types. The pursuit of such appearances may trigger eating disorder symptoms, such as unhealthy attitudes towards body weight and shape. Thus far, there has been no dedicated empirical study of the prevalence of such problems in Australian actors and performing artists specifically. Therefore, this study sought to examine eating disorder symptomatology in Australian actors and performing artists. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists, of whom 573 individuals completed the survey. This survey gauged demographic information and eating disorder symptoms using the psychometrically validated Eating Disorder Diagnostic Scale (EDDS). RESULTS: A large proportion of actors reported unhealthy attitudes such as ‘feeling fat’ even though they are of normal weight or underweight; reported an extreme fear of gaining weight; and evaluated their self-worth based on their body weight and shape, particularly women. Results also showed that 2.5% of women in the study met the diagnostic criteria for anorexia nervosa and 13% met diagnostic criteria for bulimia nervosa based on their scores on the EDDS. DISCUSSION: Performers may be a particularly at-risk population for the development and/or maintenance for a range of eating disorders.

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Szabó, Marianna, Ian Maxwell, Mitchell L. Cunningham, and Mark Seton. "Alcohol Use by Australian Actors and Performing Artists: A Preliminary Examination from the Australian Actors’ Wellbeing Study." Medical Problems of Performing Artists 35, no. 2 (June 1, 2020): 73–80. http://dx.doi.org/10.21091/mppa.2020.2012.

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BACKGROUND: Anecdotal and media reports suggest that actors and performing artists are vulnerable to high levels of alcohol use. However, little empirical research is available to document the extent and correlates of alcohol use amongst these artists, particularly in an Australian context. OBJECTIVE: This study investigated alcohol use in a sample of Australian actors and other performing artists and its associations with sociodemographic background, psychological wellbeing, and work stress. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists. The survey included questions on sociodemographic and occupational background and psychological wellbeing (DASS-21), as well as the AUDIT questionnaire to assess self-reported alcohol consumption. A sample of 620 performing artists responded to the survey, a large majority of whom were actors. RESULTS: Australian actors and performing artists appear to consume alcohol at levels that are higher than those found in the general Australian population. About 40% of men and 31% of women were classified as drinking alcohol at potentially harmful or hazardous levels. Alcohol use was not strongly associated with age, education, or income, but it had a relationship with poorer psychological wellbeing. About 50% of respondents reported that their alcohol drinking was related to work stress as a performer. This perception was more pronounced amongst those performers who reported drinking at harmful levels. CONCLUSIONS: Australian actors and performing artists appear to be an at-risk population for harmful or hazardous alcohol use.

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Downey, Georgina. "Armchair tourists: Two ‘furniture portraits’ by expatriate South Australian women artists." Journal of Australian Studies 27, no. 80 (January 2003): 87–98. http://dx.doi.org/10.1080/14443050309387915.

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Casteras, Susan P., Jan Marsh, Pamela Gerrish Nunn, and National Gallery of Art. "Pre-Raphaelite Women Artists." Art Bulletin 80, no. 4 (December 1998): 750. http://dx.doi.org/10.2307/3051324.

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Weatherford, K. J. "Courageous Souls: Kate Chopin's Women Artists." American Studies in Scandinavia 26, no. 2 (September 1, 1994): 96–112. http://dx.doi.org/10.22439/asca.v26i2.1457.

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Klein, Bettina, and Patricia Fister. "Japanese Women Artists, 1600-1900." Monumenta Nipponica 44, no. 1 (1989): 128. http://dx.doi.org/10.2307/2384710.

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Mettler, Liselotte. "Women Surgeons And Women Artists “History, Power, Challenges And Opportunities”." Reproductive Medicine, Gynecology & Obstetrics 5, no. 4 (November 6, 2020): 1–6. http://dx.doi.org/10.24966/rmgo-2574/100062.

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This article was written after “women’s surgeon lunch meeting” was organized by European Society of Gynecological Endoscopy (ESGE) during their annual conference in August 2019 at Thessaloniki, Greece.

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Matynia, Elzbieta. "Poland Provoked: How Women Artists En-Gender Democracy." Current History 105, no. 689 (March 1, 2006): 132–38. http://dx.doi.org/10.1525/curh.2006.105.689.132.

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It is women artists who, by entering into an open debate with central elements of the Polish cultural tradition, pose the main questions concerning the nature of democratic citizenship, toleration, and pluralism.

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Laura R. Prieto. "Women Artists and the Power of Modernism." Journal of Women's History 21, no. 4 (2009): 185–95. http://dx.doi.org/10.1353/jowh.0.0122.

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Lindsey, Kiera. "'Remember Aesi':." Public History Review 28 (June 22, 2021): 46–71. http://dx.doi.org/10.5130/phrj.v28i0.7760.

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In this article I draw upon a definition of ‘dialogical memorial’ offered by Brad West to offer an experimental artist's brief that outlines the various ways that a contemporary monument to the colonial artist, Adelaide Eliza Scott Ironside (1831-1867), could ‘talk back’ to the nineteenth-century statues of her contemporaries, and ‘converse’ with more recent acts of history making. In contrast to the familiar figure of the individual hero, which we associate with the statuary of her age, I suggest a group monument that acknowledges the intimate intergenerational female network which shaped Aesi's life and also ‘re-presents’ – a term coined by the historian Greg Dening – several native born and convict women from the Georgian, Regency and Victorian eras who influenced her life. Instead of elevating Aesi upon a plinth, I recommend grounding this group monument on Gadigal country and planting around it many of the Australian Wildflowers she painted in ways that draw attention to the millennia-old Indigenous uses of the same plants. And finally, by situating Aesi’s monument in the Outer Domain (behind the New South Wales Art Gallery in Sydney’s Botanic Gardens and to the east of the Yurong Pennisula, near Woolloomooloo Bay), in an area where she once boldly assumed centre stage before a large male audience in a flamboyant moment of her own theatrical history-making, I argue that this memorial will have the capcity to speak for itself in ways that challenge the underepresentation of colonial women in Sydney's statuary, abd, as West suggests, do much to ‘alter the stage on which Sydney's colonial history 'is narrated and performed’. [i] Greg Dening, Performances, Melbourne University Press, Melbourne, 1992, p37.

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Simpson, Pamela H., and Nancy G. Heller. "Women Artists: An Illustrated History, Revised and Expanded Edition." Woman's Art Journal 13, no. 1 (1992): 49. http://dx.doi.org/10.2307/1358264.

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Rowe, Dorothy. "Women Artists and the Limits of Modernist Art History." Art History 23, no. 1 (March 2000): 130–29. http://dx.doi.org/10.1111/1467-8365.00200.

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Johnson, Deborah, Mirella Bentivoglio, and Franca Zoccoli. "Women Artists of Italian Futurism: Almost Lost to History." Art Journal 57, no. 3 (1998): 98. http://dx.doi.org/10.2307/777981.

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Lasa Álvarez, María Begoña. "Women Artists and Activism in Ellen Clayton's "English Female Artists" (1876)." Oceánide 12 (February 9, 2020): 37–44. http://dx.doi.org/10.37668/oceanide.v12i.23.

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In her biographical compilation English Female Artists (1876), Ellen Clayton documented the lives of many talented and hard-working women as a means of bringing to light and celebrating their role in the history of art. Moreover, she also explored these artists’ biographies in order to problematize more general issues, thus entering into one of the most significant initiatives of the period: the movement for women’s rights, with proposals including the improvement of women’s education, their access to art academies, and the amelioration of laws regarding marriage, family and employment. Of particular interest are the lives of celebrated artists who were also leading activists in the period, such as Laura Herford, Eliza Bridell-Fox and Barbara Leigh Smith Bodichon. Therefore, this study aims to explore not only Clayton’s approach to female artists within the specific domain of art, but also the incursions that they made into broad social and political issues regarding women. Finally, the presence in various biographies of the term “sisters” is particularly revealing in that Clayton, through her text, could be said to be assembling as many women as possible, not just artists, as a means of fighting for their rights together as sisters.

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Andrews, Julia F. "Women Artists in Twentieth-Century China." positions: asia critique 28, no. 1 (February 1, 2020): 19–64. http://dx.doi.org/10.1215/10679847-7913041.

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This article is a reflection on two intersecting themes, the rise of women as artists and as female subjects for art, in the context of the evolving status of women in twentieth-century China. Set in the context of the nascent modern education for women and the emergence of feminism, the two phenomena, like the art world itself, are primarily urban. After surveying the accelerating progress made between 1910 and 1940, it interrogates, in light of contemporary art world patterns and current definitions of feminism, the slowing and even regression in recognition of women as artists in subsequent years.

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Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.

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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.

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Bell, Janis C., and Wendy Slatkin. "Women Artists in History: From Antiquity to the 20th Century." Woman's Art Journal 7, no. 2 (1986): 50. http://dx.doi.org/10.2307/1358308.

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Paliwal, Anju, and Dr Giriraj Sharma. "WOMEN ARTISTS IN CONTEMPORARY INDIAN CERAMICS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (June 3, 2022): 377–88. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.120.

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Indian has a rich heritage of terracotta art. The history of terracotta/clay goes back to the Harappan Civilization. It is one of the oldest mediums of communication between people, whether for the barter system or as a medium of expression for the artists. ‘Pot’ in the Indian language is called a KUMBH and a person who makes it is called a KUMBHKAR. A different name of potter came to be known as 'Prajapati' creator of toys that came from Brahma who made man of clay. In traditional potter’s families, women were not allowed to work on the wheel. Women help in preparing the clay, making figures, and pain and decorating the ready pots. (Kempler, 2015)India is a patriarchal society, it is education that broke the age-old barriers and notions related to clay and brought self-sufficiency and self-consciousness for graceful living and honorable status in the society. Development of Art College in India after Independence encouraged many female students to learn different subjects like pottery, painting, sculpture, etc. All these subjects enhanced the technical knowledge of the students and paved their way into different art fields. Nirmala Patwardhan, Jyotsna Bhatt, Era Mukherjee, Shampa Shah, Dipalee Daroz, Manisha Bhattacharya, Kristine Michael, Madhavi Subramaniam are some of the artists who encouraged the future women ceramic artists in India.In the present study, we will discuss the contribution of women ceramic artists in contemporary Indian ceramics.

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Derderian, Elizabeth. "Engendering Change: Charting a History of the Emirates through Women Artists." Hawwa 19, no. 1 (February 22, 2021): 28–50. http://dx.doi.org/10.1163/15692086-bja10016.

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Abstract Contrary to narratives of universally positive modernization in the United Arab Emirates, this article draws on the lives and work of women artists to offer a more detailed view of the UAE’s rapid urbanization and development. First, the article shows how changing educational structures and systems led to the privileging of the English language, which has resulted in differential generational access to a contemporary art world that operates predominantly in English. Second, the article looks at the losses of urbanization illustrated by artists reflecting on the changing experience of community, gendered norms of public behavior, the role of buildings and monuments in navigation and identity, and resource exploitation.

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Pardoe, Heather, and Maureen Lazarus. "Images of Botany: Celebrating the Contribution of Women to the History of Botanical Illustration." Collections: A Journal for Museum and Archives Professionals 14, no. 4 (December 2018): 547–67. http://dx.doi.org/10.1177/155019061801400409.

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The superb botanical illustration collection of Amgueddfa Cymru– National Museum Wales in Cardiff, Wales, has developed through bequests, donations, and selective purchases. Numbering more than 7,000 works, 15% of these are by women, including the work of well-known Victorian artists and leading contemporary artists such as Gillian Griffiths, Pauline Dean, and Dale Evans. In particular, the Cymmrodorion Collection is the most prestigious collection, containing illustrations dating from the 18th century and featuring works by Elizabeth Blackwell, Jane Loudon, and Sarah Drake. Using this and other collections from the museum, this article examines the contribution that women artists have made to the field of botanical illustration by referring to the lives of these women and considering their motives, whether they pursued botanical illustration out of financial necessity, out of scientific curiosity, or to allay boredom. The article further examines the social restrictions and prejudice that many of these women had to overcome.

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Misztal, Barbara A. "Migrant women in Australia." Journal of Intercultural Studies 12, no. 2 (January 1991): 15–34. http://dx.doi.org/10.1080/07256868.1991.9963376.

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Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia." Leonardo 36, no. 3 (June 2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.

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This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.

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Clark, Roger, Ashley R. Folgo, and Jane Pichette. "Have There Now Been Any Great Women Artists? An Investigation of the Visibility of Women Artists in Recent Art History Textbooks." Art Education 58, no. 3 (May 2005): 6–13. http://dx.doi.org/10.1080/00043125.2005.11651537.

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Ferentinou, Victoria. "Surrealism, Occulture and Gender: Women Artists, Power and Occultism." Aries 13, no. 1 (January 1, 2013): 103–30. http://dx.doi.org/10.1163/15700593-01301006.

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Usborne, C., and M. Meskimmon. "Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck." German History 11, no. 3 (July 1, 1993): 346. http://dx.doi.org/10.1093/gh/11.3.346.

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Meskimmon, M. "Women Artists and the Neue Sachlichkeit: Grethe Jurgens and Gerta Overbeck." German History 11, no. 3 (October 1, 1993): 346. http://dx.doi.org/10.1177/026635549301100305.

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Faxon, Alicia Craig, and Lisa E. Farrington. "Creating Their Own Image: The History of African-American Women Artists." Woman's Art Journal 26, no. 2 (2005): 45. http://dx.doi.org/10.2307/3598099.

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Caffrey, Margaret M. "Creating Their Own Image: The History of African-American Women Artists." History: Reviews of New Books 33, no. 4 (January 2005): 132. http://dx.doi.org/10.1080/03612759.2005.10526614.

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Harrah-Johnson, Jeanne. "Women and Ledger Art: Four Contemporary Native American Artists. By Richard Pearce." Oral History Review 43, no. 1 (April 1, 2016): 232–34. http://dx.doi.org/10.1093/ohr/ohw012.

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Savilonis, Margaret F. "Women, Modernism, & Performance." Theatre Survey 47, no. 1 (April 13, 2006): 142–44. http://dx.doi.org/10.1017/s0040557406360097.

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Penny Farfan's Women, Modernism, & Performance, six intricately woven essays about a handful of late nineteenth- and early twentieth-century female artists, is an absorbing study centered on the premise that “the feminist-modernist aesthetics of key figures in the fields of dance and literature developed in part out of their engagement with dramatic literature and theatrical practice, making their lives and work a part of theatre history” (2). Employing broad definitions of both performance and modernism, Farfan casts a wide net, adopting what she describes as a “‘maximalist’ approach” (117) to construct her arguments about these artists' contributions to “the transformation of the representation of gender in both art and life” (119). Her consideration of public performances such as courtroom trials, lectures, and “the performance of gender in the practice of everyday life” (3) informs her analysis of literary, critical, and performance texts to intriguing effect. In the process, Farfan delineates the cultural landscape out of which these women and their work emerged.

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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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Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.

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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobiographical approach. For cultural identity, dynamic interaction between the culture of the artist’s homeland and that of her host country play a vital role throughout their art practices. Rather than using elements of typical Chinese cultural heritage, women artists tend to engage in cultural emblems, which connect to their personal-gendered experiences. Albeit confronting the double otherness on cultural and gender identity in a foreign country, the experience of diaspora pushes women artists to pursue independence, self-awakening and broader world-views. With modern conceptions of gender, their practices, particularly the family-theme, convey reflections on the conventional ideology of the family, as well as traditional gender roles.

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Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (February 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.

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“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States.

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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.

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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.

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Minioudaki, Kalliopi. "On the Cusp of Feminism: Women Artists in the Sixties." Konsthistorisk tidskrift/Journal of Art History 83, no. 2 (April 3, 2014): 59–66. http://dx.doi.org/10.1080/00233609.2014.907648.

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Damousi, Joy. "‘Women—Keep Australia Free!’: Women Voters and Activists in the 1951 Referendum Campaign." Australian Historical Studies 44, no. 1 (March 2013): 89–104. http://dx.doi.org/10.1080/1031461x.2012.760630.

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Martínez-Cruz, Paloma. "Sighting the Sound." Feminist Media Histories 7, no. 4 (2021): 27–54. http://dx.doi.org/10.1525/fmh.2021.7.4.27.

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Characterized by ambiguous sexual energy and resistance to male domination and objectification, the visual idiom of punk rock communicated feminist prospects through the performance of fashion. This essay interprets the creative agency of Alice Bag, Marina “Del Rey” Muhlfriedel, Trudie “Plunger” Arguelles-Barret, and Helen “Hellin Killer” Roessler as Latina and Hispanic sono-spatial artists in the early days of L.A.’s punk subculture. Situating the performance practices of Hispana (Iberian) women alongside the Latina (hemispheric Latin American) artists, L.A. punk is situated within a Spanish-American borderlands matrix of meaning, where non–Western European roots of women in punk gain coherence as a specifically bordered set of historical circumstances. By embodying musical performativity as creators of a relational theatre of musical experience, the study asserts that women punk fans redefined how alternative music was generated, circulated, and consumed.

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Thomas, Zoë. "Beyond the Battlefield: Women Artists of the Two World Wars." Cultural and Social History 13, no. 2 (April 2, 2016): 281–82. http://dx.doi.org/10.1080/14780038.2016.1224524.

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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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Pipkin, Amanda. "“They were not humans, but devils in human bodies”: Depictions of Sexual Violence and Spanish Tyranny as a Means of Fostering Identity in the Dutch Republic." Journal of Early Modern History 13, no. 4 (2009): 229–64. http://dx.doi.org/10.1163/138537809x12528970165109.

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AbstractFrom 1609 to 1648, the inhabitants of the nascent Dutch Republic faced various challenges as they worked to justify and ensure its continued existence. Many authors and artists deployed depictions of sexual violence as a potent tool to patch over political and religious disagreements among the Dutch by encouraging them to focus on the larger threat—their Spanish enemy. They propagated stories that vilified the Spanish in two ways: focusing on the literal raping women of the Low Countries as Phillip II's troops attempted to reassert his control there and the metaphoric violence of a people ruled by a tyrant who violated the traditional rights of the Dutch nation imagined as a vulnerable woman. Through depictions of rape, these authors and artists not only created an enemy against whom the Dutch could unite; they also generated the idea that treating women with proper care and respect was part of a Dutch (male) national character.

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Olin, Ferris. "Institutional activism: documenting contemporary women artists in the United States." Art Libraries Journal 32, no. 1 (2007): 11–19. http://dx.doi.org/10.1017/s0307472200014802.

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The Margery Somers Foster Center, based at the Mabel Smith Douglass Library on the Douglass College campus of Rutgers, the State University of New Jersey, is a resource center and digital archive focused on women, scholarship and leadership. Numerous intersecting initiatives based at the center, library and university are making visible the lives, works and contributions to cultural history of contemporary women artists active in the United States.

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Belova, Darya Nikolaevna. "Female images in Art Nouveau style." Культура и искусство, no. 10 (October 2021): 56–72. http://dx.doi.org/10.7256/2454-0625.2021.10.36452.

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This article analyzes the activity of the Art Nouveau artists of the late XIX – early XX centuries, and the reception of their works. The subject of this research is the works of both female and male artists, and their interinfluence. The article touches upon the topic of genders in art, difficulties of promoting the “female perspective” in the period of Art Nouveau. The article employs the comparative-historical, involving scientific materials on culturology, philosophy and art history; sociocultural approach towards historical events in the establishment of Art Nouveau. The relevance of this topic is substantiated by heightened interest to studying the phenomenon of Art Nouveau and the role of women in its formation. The novelty of this research consists in attempt to determine the specificity of female principle in Art Nouveau style, both as an artistic image that holds the leading place therein, and in the image of women artists who tried to implement their vision of female image in the art object. The conclusion is made that despite the shift in the worldview orientations and artistic paradigms of this period, women artists were experiencing major difficulties. The formation of the Art Nouveau style vividly manifested the features of the “new woman” in the works of women artists, emphasizing their uniqueness and artistic peculiarities. It is determined that the comprehension of multifacetedness of Art Nouveau style was greatly affected by women artists, whose works are still relevant today.

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Anderson, Anne. "Women artists and the decorative arts 1880-1935: the gender of ornament." Women's History Review 13, no. 2 (June 1, 2004): 311–36. http://dx.doi.org/10.1080/09612020400200766.

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Schettini, Cristiana. "South American Tours: Work Relations in the Entertainment Market in South America." International Review of Social History 57, S20 (August 29, 2012): 129–60. http://dx.doi.org/10.1017/s0020859012000454.

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SummaryThis article explores the relationships between young European women who worked in the growing entertainment market in Argentine and Brazilian cities, and the many people who from time to time came under suspicion of exploiting them for prostitution. The international travels of young women with contracts to sing or dance in music halls, theatres, and cabarets provide a unique opportunity to reflect on some of the practices of labour intermediation. Fragments of their experiences were recorded by a number of Brazilian police investigations carried out in order to expel “undesirable” foreigners under the Foreigners Expulsion Act of 1907. Such sources shed light on the work arrangements that made it possible for young women to travel overseas. The article discusses how degrees of autonomy, violence, and exploitation in the artists’ work contracts were negotiated between parties at the time, especially by travelling young women whose social experiences shaped morally ambiguous identities as artists, prostitutes, and hired workers.

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Ater, Renée. "Creating Their Own Image: A History of African-American Women Artists: African Queen." African Arts 38, no. 2 (July 1, 2005): 82–83. http://dx.doi.org/10.1162/afar.2005.38.2.82.

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Edwards, Louise. "Drawing Sexual Violence in Wartime China: Anti-Japanese Propaganda Cartoons." Journal of Asian Studies 72, no. 3 (June 20, 2013): 563–86. http://dx.doi.org/10.1017/s0021911813000521.

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During the War of Resistance against Japan (1937–45), China's leading cartoon artists formed patriotic associations aimed at repelling the Japanese military. Their stated propaganda goals were to boost morale among the troops and the civilian population by circulating artwork that would ignite the spirit of resistance among Chinese audiences. In keeping with the genre, racialized and sexualized imagery abounded. The artists created myriad disturbing visions of how militarized violence impacted men's and women's bodies differently. By analyzing the two major professional journals, National Salvation Cartoons and War of Resistance Cartoons, this article shows that depictions of sexual violence inflicted on Chinese women were integral to the artists' attempts to arouse the spirit of resistance. By comparing their depictions of different types of bodies (Chinese and Japanese, male and female, soldiers' and civilians') the article argues that the cartoonists believed that the depiction of sexually mutilated Chinese women would build resistance and spur patriotism while equivalent depictions of mutilated male soldiers would sap morale and hamper the war effort. The article concludes with a discussion about the dubious efficacy of propaganda that invokes a hypersexualized, masculine enemy other.

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Dabakis, Melissa, and Kirsten Swinth. "Painting Professionals: Women Artists & the Development of Modern American Art, 1870-1930." Journal of American History 89, no. 3 (December 2002): 1077. http://dx.doi.org/10.2307/3092424.

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Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.

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Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.

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McLachlan, Fiona, and Jennifer Curtin. "Introduction: Women, Sport and History in Australia and New Zealand." International Journal of the History of Sport 33, no. 17 (November 21, 2016): 2069–70. http://dx.doi.org/10.1080/09523367.2016.1368904.

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Journal articles on the topic 'Women artists Australia History'

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