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Artículos de revistas sobre el tema "Women artists"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 31 de julio de 2024

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1

Lewis, Mary Tompkins y Tamar Garb. "Women Artists". Art Journal 53, n.º 3 (1994): 90. http://dx.doi.org/10.2307/777446.

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2

Kahn, Ariel. "Graphic Women Artists". Jewish Quarterly 64, n.º 2 (3 de abril de 2017): 69–71. http://dx.doi.org/10.1080/0449010x.2017.1333742.

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3

Weil, Harry J. "Great Women Artists". Afterimage 38, n.º 1 (1 de julio de 2010): 14–18. http://dx.doi.org/10.1525/aft.2010.38.1.14.

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4

Qureshi, Irna y Naiza Khan. "Women artists and male artisans in South Asia". South Asian Popular Culture 9, n.º 1 (abril de 2011): 81–88. http://dx.doi.org/10.1080/14746689.2011.553892.

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5

Behiery, Valerie. "Muslim Women Visual Artist’ Online Organizations". HAWWA 13, n.º 3 (15 de octubre de 2015): 297–322. http://dx.doi.org/10.1163/15692086-12341284.

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This study examines two American online organizations established as networks of support for Muslim women artists: Muslim Women in the Arts (mwia) and the International Muslimah Artists’ Network (iman). While the broader context is to explore the intersections of three important identity markers, namely, gender (woman), occupation (artist) and religion (Muslim) often overlooked in identity theory (Peek 2005), the more specific aim is to probe the effects of these digital culturescapes on Muslim women’s artistic agency and success. The data collected from interviews with member artists confirm the necessity of such organizations, offer suggestions on how they could be improved and outline the difficulties they face due to their largely volunteer and online nature.
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6

Board, Marilynn Lincoln y Katy Deepwell. "Women Artists and Modernism". Woman's Art Journal 21, n.º 2 (2000): 53. http://dx.doi.org/10.2307/1358754.

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7

Rice, Robin, Jan Marsh y Pamela Gerrish Nunn. "Pre-Raphaelite Women Artists". Woman's Art Journal 21, n.º 1 (2000): 56. http://dx.doi.org/10.2307/1358877.

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8

Rubinstein, Charlotte Streifer y Eleanor Munro. "Originals: American Women Artists". Woman's Art Journal 22, n.º 2 (2001): 54. http://dx.doi.org/10.2307/1358908.

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9

Casteras, Susan P., Jan Marsh, Pamela Gerrish Nunn y National Gallery of Art. "Pre-Raphaelite Women Artists". Art Bulletin 80, n.º 4 (diciembre de 1998): 750. http://dx.doi.org/10.2307/3051324.

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10

Anderson, Heather. "Making Women Artists Visible". Art Education 45, n.º 2 (marzo de 1992): 14. http://dx.doi.org/10.2307/3193321.

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11

Yoshimoto, Midori. "Beyond ‘Japanese/Women Artists’". Third Text 28, n.º 1 (2 de enero de 2014): 67–81. http://dx.doi.org/10.1080/09528822.2013.867711.

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12

Sang, Barbara E. "Psychotherapy with women artists". Arts in Psychotherapy 16, n.º 4 (diciembre de 1989): 301–7. http://dx.doi.org/10.1016/0197-4556(89)90053-1.

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13

Mitchell, Dolores. "The "New Woman" as Prometheus: Women Artists Depict Women Smoking". Woman's Art Journal 12, n.º 1 (1991): 3. http://dx.doi.org/10.2307/1358183.

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14

Och, Marjorie. "The Advancing Women Artists Foundation, and: Women Artists in the Age of Medici". Early Modern Women 11, n.º 2 (2017): 125–30. http://dx.doi.org/10.1353/emw.2017.0008.

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15

Guth, Christine M. E., Patricia Fister y Marsha Weidner. "Japanese Women Artists 1600-1900". Journal of Japanese Studies 18, n.º 1 (1992): 222. http://dx.doi.org/10.2307/132722.

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16

Holcomb, Adele M. "Anna Jameson on Women Artists". Woman's Art Journal 8, n.º 2 (1987): 15. http://dx.doi.org/10.2307/1358161.

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17

Fahlman, Betsy, Gail Levin, Alessandra Comini y Wanda M. Corn. "American Women Artists, 1830-1930". Woman's Art Journal 8, n.º 2 (1987): 55. http://dx.doi.org/10.2307/1358170.

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18

Simpson, Pamela H., Wendy Slatkin, Susan Waller y Mara R. Witzling. "The Voices of Women Artists". Woman's Art Journal 14, n.º 1 (1993): 55. http://dx.doi.org/10.2307/1358439.

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19

Sturken, Marita. "Women Artists’ Group Fights Discrimination". Afterimage 25, n.º 6 (mayo de 1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.

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20

Naidoo, Sanna. "Women Artists Make Their Mark". Agenda, n.º 5 (1989): 29. http://dx.doi.org/10.2307/4065646.

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21

Fowler, Joan. "Women Artists Action Group Seminar". Circa, n.º 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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22

Klein, Bettina y Patricia Fister. "Japanese Women Artists, 1600-1900." Monumenta Nipponica 44, n.º 1 (1989): 128. http://dx.doi.org/10.2307/2384710.

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23

Dickinson, Sheila. "Dialogues: Women Artists from Ireland". Circa, n.º 111 (2005): 104. http://dx.doi.org/10.2307/25564303.

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24

Teklemichael, Makda. "Contemporary Women Artists in Ethiopia". African Arts 42, n.º 1 (marzo de 2009): 38–45. http://dx.doi.org/10.1162/afar.2009.42.1.38.

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25

Cummins, Pauline. "The women artists action group". Women's Studies International Forum 11, n.º 4 (enero de 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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26

Muñoz López, Pilar. "Las publicaciones y la investigación sobre mujeres artistas en España". RAUDEM. Revista de Estudios de las Mujeres 3 (23 de mayo de 2017): 317. http://dx.doi.org/10.25115/raudem.v3i0.633.

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Resumen: El tema de las mujeres artistas ha sido escasamente tratado en la abundante bibliografía de Historia del Arte. La mayor parte de las publicaciones que se han editado en los últimos años son fundamentalmente de carácter divulgatorio de la actividad de las artistas en el contexto internacional y en nuestro país. En el artículo se revisan los libros y artículos publicados y, finalmente, se exponen los contenidos de mi obra Artistas españolas en la dictadura de Franco. 1939-1975, que, desde una perspectiva histórica, trata de dar a conocer la actividad creativa de muchas artistas españolas en este periodo histórico. Publications and Research about Women Artists in Spain Abstract: The topic of Women Artists has been hardly presented in abundant bibliography of Art History. The majority of publications issued in latest years are popular science books about the activity of artists in an international context and in our country. In this paper I revise books and articles, and finally, I thoroughly explain thoroughly the contents of my book Artistas españolas en la dictadura de Franco. 1939-1975, which from an historic perspective, attempts to show the prominence of creative activity from many Spanish women artists in this historic period.
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27

Robinson, Hilary. "Irish/woman/artwork: Selective Readings". Feminist Review 50, n.º 1 (julio de 1995): 89–110. http://dx.doi.org/10.1057/fr.1995.24.

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This paper concentrates upon particular artworks from Irish women artists. It demonstrates that there are certain themes which recur in their artwork. These include dislocation, particularities about place and contestation around language, all of which are rooted in the lived experience of being Irish, being female and being an artist. At the same time the paper provides readings of this artwork which demonstrate that these experiences are diverse, and that the areas of representation within which the artists are working are socially produced constructs. There is therefore no romantic essentialist category of ‘Irish woman artist’, but rather the richly interplaying histories, readings and contexts of Irish/woman/artwork.
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28

Rodrigues dos Santos, Ana Amélia. "Unveiling the vibrant tapestry: Brazilian female voices in visual poetry on Instagram". Journal of Digital Sociohumanities 1, n.º 1 (8 de febrero de 2024): 32–42. http://dx.doi.org/10.25077/jds.1.1.32-42.2024.

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This article explores the presence of Brazilian women artists in visual poetry on Instagram. It highlights the historical decline in recognition of women artists and the perpetuation of stereotypes that undermine their work. The article also discusses the ongoing struggle faced by female writers for recognition in the literary field. It challenges the notion that women, especially those from diverse backgrounds, are not prolific producers of poetry. The author focuses on the work of Brazilian artist Heloísa Marques as an illustrative example. Marques, an architect and visual artist, uses embroidery and collage techniques in her visual poetic compositions. The article examines her background, techniques, approach to language, and the reception of her work on Instagram. It emphasizes how social media platforms like Instagram have become spaces where women can share their work and regain recognition as poets and artists. The article sheds light on Marques's artistic contributions and the broader presence of women in visual poetry on Instagram.
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29

Honey, Maureen. "Women and Art in the Fiction of Edith Wharton". Prospects 19 (octubre de 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.

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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
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30

Yang, Hwaseon. "A Study on the Gaze and Subjectivity of Women in Visual Art: Focused on Cindy Sherman and Caroline Walker’s Works". Korean Society of Culture and Convergence 45, n.º 4 (30 de abril de 2023): 321–32. http://dx.doi.org/10.33645/cnc.2023.04.45.04.321.

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This study focuses on the status and role of women through the art works of two female artists, Cindy Sherman(1954~) and Caroline Walker(1982~). The works of both Sherman, a representative second-generation feminist artist who has received critical attention since the end of the 1970s, and Walker, who grew up under the influence of post-feminism, portray women who reveal various social, cultural, and economic differences in modern society. Both artists focus on the traditional female image and gaze that still exists behind the status of women and female artists as well as the subjectivity of women. Walker goes on to explain how the characters in her works, particularly the reality of women performing invisible jobs and female immigrants, are related to women's labour and subjects.
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31

Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity". Journal of Contemporary Chinese Art 9, n.º 1 (1 de julio de 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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32

Lasa Álvarez, María Begoña. "Women Artists and Activism in Ellen Clayton's "English Female Artists" (1876)". Oceánide 12 (9 de febrero de 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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33

Lila, Bonghi Yawn. "Medieval Women Artists and Modem Historians". Medieval Feminist Newsletter 12 (septiembre de 1991): 10–19. http://dx.doi.org/10.17077/1054-1004.1592.

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34

Tufts, Eleanor. "American Women Artists, Past and Present". Woman's Art Journal 7, n.º 1 (1986): 51. http://dx.doi.org/10.2307/1358242.

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35

Kaplan, Janet y Whitney Chadwick. "Women Artists and the Surrealist Movement". Woman's Art Journal 9, n.º 2 (1988): 47. http://dx.doi.org/10.2307/1358321.

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36

Hinish, Heidi, Geraldine P. Biller, Belgica Rodriguez, Edward J. Sullivan y Marina Perez de Mendiola. "Latin American Women Artists, 1915-1995". Woman's Art Journal 18, n.º 1 (1997): 54. http://dx.doi.org/10.2307/1358685.

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37

Weatherford, K. J. "Courageous Souls: Kate Chopin's Women Artists". American Studies in Scandinavia 26, n.º 2 (1 de septiembre de 1994): 96–112. http://dx.doi.org/10.22439/asca.v26i2.1457.

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38

Paliwal, Anju y Dr Giriraj Sharma. "WOMEN ARTISTS IN CONTEMPORARY INDIAN CERAMICS". ShodhKosh: Journal of Visual and Performing Arts 3, n.º 1 (3 de junio de 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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39

Goggin, Maureen Daly. "Women Artists of the Great Basin". Utah Historical Quarterly 89, n.º 2 (1 de abril de 2021): 162–63. http://dx.doi.org/10.5406/utahhistquar.89.2.0162.

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40

Barber, Fionna y Whitney Chadwick. "Women Artists and the Surrealist Movement". Circa, n.º 26 (1986): 41. http://dx.doi.org/10.2307/25557045.

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41

King, Moynan. "Queer Performance: Women and Trans Artists". Canadian Theatre Review 149 (enero de 2012): 3–5. http://dx.doi.org/10.3138/ctr.149.3.

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42

Lewis, Reina. "Women orientalist artists: Diversity, ethnography, interpretation". Women: A Cultural Review 6, n.º 1 (junio de 1995): 91–106. http://dx.doi.org/10.1080/09574049508578225.

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43

Land, Norman E. "FRANCO SACCHETTI ON WOMEN AS ARTISTS". Source: Notes in the History of Art 32, n.º 2 (enero de 2013): 1–3. http://dx.doi.org/10.1086/sou.32.2.23292904.

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44

BUTLER, S. "Women Artists and the Surrealist Movement". Oxford Art Journal 9, n.º 1 (1 de enero de 1986): 85–89. http://dx.doi.org/10.1093/oxartj/9.1.85.

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45

York, Lorraine Mary. "Literary Sisterhoods: Imagining Women Artists (review)". University of Toronto Quarterly 76, n.º 1 (2007): 443–44. http://dx.doi.org/10.1353/utq.2007.0277.

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46

King, Moynan. "Queer Performance: Women and Trans Artists". Canadian Theatre Review 149, n.º 1 (2012): 3–5. http://dx.doi.org/10.1353/ctr.2012.0001.

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47

Childs, Adrienne L. "Material Girls: Contemporary Black Women Artists". Journal of Modern Craft 5, n.º 1 (marzo de 2012): 109–14. http://dx.doi.org/10.2752/174967812x13287914145677.

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48

Andrews, Julia F. "Women Artists in Twentieth-Century China". positions: asia critique 28, n.º 1 (1 de febrero de 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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49

Kohut, Halyna. "Ukrainian Women Artists in Revolutionary Times". Zeitschrift für Kunstgeschichte 85, n.º 4 (23 de noviembre de 2022): 569–76. http://dx.doi.org/10.1515/zkg-2022-4010.

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50

Faldini, Luisa. "Women in charge: Contemporary Inuit artists". Anuac 1, n.º 1 (28 de junio de 2015): 104–7. http://dx.doi.org/10.7340/anuac2239-625x-24.

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