Bibliografie tematiche / Women artists

Letteratura scientifica selezionata sul tema "Women artists"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Women artists"

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

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

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

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

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Behiery, Valerie. "Muslim Women Visual Artist’ Online Organizations". HAWWA 13, n. 3 (15 ottobre 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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Board, Marilynn Lincoln, e Katy Deepwell. "Women Artists and Modernism". Woman's Art Journal 21, n. 2 (2000): 53. http://dx.doi.org/10.2307/1358754.

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

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

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

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

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Tesi sul tema "Women artists"

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Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life experiences and how they came to be “successful artists” in the conservative Saudi society. The findings showed that family and formal education played an important role in these women’s life journeys as artists. The Saudi society was also a major influence, sometimes supporting them, at other times obstructing them. These artists share many personality features such as being persistent, believing in themselves, taking risks, facing challenges, being independent, being responsible as artists and as part of society, and being honest in their artwork. This study contributes to the art education curriculum in Saudi schools and universities. Globally, it contributes to women’s studies and to social and cultural studies in shedding light on the Saudi society, especially as it is experienced by women.
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McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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Mantooth, Jennifer R. "Muse as artist : selected artists past and present /". Online version of thesis, 1992. http://hdl.handle.net/1850/11227.

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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /". Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.

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McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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Addison, Rosemary Catharine. "Women artists and book illustration in Edinburgh, 1886-1945". Thesis, Heriot-Watt University, 2004. http://hdl.handle.net/1842/26313.

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This thesis documents a range of visual and textual records of women artists and illustrators in Edinburgh (1886-1945). It considers how women trained and applied skills to illustrate unique and multiple images for Edinburgh's printing and publishing houses. Research by Dr Elizabeth Cumming into the Arts and Crafts Movement in Edinburgh, studies by Professor Janice Helland of Professional Women Artists in Scotland and work by Professor Sian Reynolds into the cultural industries in Edinburgh, provide fundamental models of enquiry into women's occupations in this period. The following chapters discuss the ways in which women presented images of themselves. They generated images in book form, in design, illustration and the interpretation of texts. Nineteenth century debates about the necessity of roles for women in art, education, religion and politics challenged gendered norms of the political culture. In order to stress the agency o f women illustrators, a s scribes who wrote themselves into their culture, the thesis also marks the currency of changing attitudes about womanhood. Interaction between women as cultural facilitators, campaigners for women's rights and artists as illustrators emerges in a critical phase of Scottish history.
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McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.

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Lewis, Joanne Rebecca. "Women artists in Botswana in the late 20th century". Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.

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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women ‘Fine’ artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.
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Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars". Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.

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Low, Yvonne Yanmei. "Women Artists: Becoming Professional in Singapore, Malaya and Indonesia". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13843.

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This is a woman-centred study that examines women’s art: art which had enabled women artists to become professionals in a male-dominated art world, at specific historical moments of present day Singapore, Malaysia and Indonesia. This thesis argues for the need to re-evaluate women’s contributions in nationalist and modernist art discourses, so as to include perspectives of women’s creative and intellectual developments in what were undeniably male-dominated professional spheres. Although the issues of gender disparity and women’s absence in history are not in itself new, they remain prevalent. For this dissertation, I have employed the recover and revise strategy in the examination of historical records and visual materials. I argue that any meaningful discussion on the issue of gender disparity in the professional art activity must take into consideration historical factors. In my study, I have juxtaposed the ideological positioning of women artists in nationalist narratives with the recovered histories of women artists undertaking creative work. I do this to show how precisely women artists were written into and out of history to serve nationalist agendas. I have further used the concept of public sphere as a theoretical frame to exemplify and illuminate the criticality of women’s historical roles and place in the nascent art worlds of Singapore and Malaysia (then Malaya) and Indonesia. By tracing the historical development of the widening public sphere, it is possible to observe that women were always within rather than outside of the process. Second, it is possible to observe the different terms on which women acted in the male-dominated public sphere. Under the purview of established ideologies on art professionalism, women artists asserted their creative authority in the following ways: by transforming institutionalized visual language and institutionalized processes, and by creating new public sites for women. This study shows that women, often deemed “missing”, have always been a part of this enlarging process of the socio-cultural sphere even though their art did not attain the recognition or accolades that their male colleagues had. In their pursuit for an artist-existence, women faced cultural and ideological challenges. Their absence in colonial and anti-colonial histories is in part implicated by the nature of their struggles for women’s emancipation and their politicized positions, and in part by the restrictions they faced when participating in anti-colonial, liberation movements and national politics within the public sphere. The manifestations of cultural nationalism further restricted women’s participation in the public spheres and contravened the aspirations of women artists. By re-examining the roles women played in these countries, this thesis has identified the structures that restricted the participation of women artists, and the ways in which subsequent historiography reproduced their absence in historical narratives. As a preliminary exploration of women’s art based on comparable historical circumstances in then Malaya, Singapore and Indonesia, this thesis hopes to posit a model to uncover forgotten histories of women artists and to recover their subjectivity without necessarily separating them from their male counterparts, or inserting them into a separate discourse.
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Libri sul tema "Women artists"

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Pigorini, Museo preistorico-etnografico Luigi, a cura di. Women in charge: Artiste Inuit contemporanee = Inuit contemporary women artists = artistes Iunuit contemporaines. Milano: Officina libraria, 2011.

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Atagok, Tomur. Contemporary women artists. Istanbul: Ministry of Culture, 1993.

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Beckett, Wendy. Contemporary women artists. New York: Universe Books, 1988.

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Bunzl, Biddy. Three women artists. London: New Academy Gallery, 1990.

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Foster, Alicia. Tate women artists. London: Tate, 2004.

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1965-, Hillstrom Laurie Collier, e Hillstrom Kevin 1963-, a cura di. Contemporary women artists. Detroit: St. James Press, 1999.

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Beckett, Wendy. Contemporary women artists. Oxford [England]: Phaidon, 1988.

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Russell, Ash, a cura di. Great women artists. San Francisco, Calif: Chronicle Books, 1991.

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Dinah, Dysart, e Fink Hannah, a cura di. Asian women artists. Roseville East, NSW: Distributed in Australia by Craftsman House in association with G+B Arts International, 1996.

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Zin, Khin Mya. Myanmar women artists. Yangon: Ye Aung Sarpay, 2009.

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Capitoli di libri sul tema "Women artists"

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Engel, Laura. "Women Artists, Silhouettes, and Waxworks". In Women, Performance and the Material of Memory, 107–29. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58932-3_5.

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Rochester, Emma. "Women Pilgrimage Artists and Their Lineages". In Women and Pilgrimage, 95–116. GB: CABI, 2022. http://dx.doi.org/10.1079/9781789249392.0008.

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Yu, Mengting. "Women Artists and English Exhibiting Societies". In London’s Women Artists, 1900-1914, 97–133. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_4.

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Yu, Mengting. "Introduction". In London’s Women Artists, 1900-1914, 1–12. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_1.

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Yu, Mengting. "Women Artists at the Slade School of Fine Art in Edwardian London, 1901–1910". In London’s Women Artists, 1900-1914, 13–54. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_2.

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Yu, Mengting. "Women Artists at the Slade School of Fine Art in the Pre-war London, 1910–1914". In London’s Women Artists, 1900-1914, 55–95. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_3.

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Yu, Mengting. "Women Artists and the Rhythm Magazine, London 1911–1913". In London’s Women Artists, 1900-1914, 135–64. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_5.

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Yu, Mengting. "Women’s International Art Club: Inclusivity, Diversity and Femininity, 1900–1914". In London’s Women Artists, 1900-1914, 165–98. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7_6.

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"Women Artists". In Literary Sisterhoods, 3–14. McGill-Queen's University Press, 2005. http://dx.doi.org/10.1515/9780773572423-001.

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"6. Women Artists". In Painters in Hanoi, 94–107. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824845100-007.

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Atti di convegni sul tema "Women artists"

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Akopyan, A. O., e L. A. Kulagina. "Functional Preparedness of Women-Martial Artists". In Proceedings of the First International Volga Region Conference on Economics, Humanities and Sports (FICEHS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.200114.204.

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Narayanan, Vasanth. "The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives". In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-24.

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Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.
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Adriati, Ira, e Almira Zainsjah. "Analysis of the Aesthetic Value of Video Art by Indonesian Women Artists". In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338080.

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Kabwe, B. Mwenya. "Priority Mail Process Lab: An Experiment in Migrant Dramaturgy". In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35906.

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This abstract reflects on the dramaturgy of the Priority Mail Process Lab, a month-long virtual residency program called into existence during the Covid-19 pandemic. The lab aimed to facilitate an exchange of objects, ideas, and insights between Francophone and Anglophone African artists. The paper explores the artistic research practice behind the lab, focusing on the themes of migration, mobility, and the role of African women. It discusses the curatorial intentions of prioritizing process over production, the importance of care, and the political implications of rest and emancipation. The paper also delves into the concept of migrant dramaturgy and the experiences of Black migrant cultural production.
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Arruda, Lina Alves. "Revisões feministas das histórias da arte: contribuições de Linda Nochlin e Griselda Pollock". In Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4089.

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Linda Nochlin inicia o artigo Why Have There Been No Great Women Artists? (1971) analisando os problemas e armadilhas da tentativa de se responder à pergunta que o intitula. Segundo a autora, trata-se de um questionamento de natureza falsa, que leva à presunção automática de que realmente não houve grandes mulheres artistas, aludindo, conseqüentemente, à idéia de que essas são incapazes de atingir a grandiosidade. Esse é um dos principais pontos de contínua incisão do texto: a desnaturalização da atribuição da condição da mulher ao sexo biológico. Alusões diretas ao útero, em fragmentos que trabalham jocosamente a crueza biológica, são recorrentes, evidenciando a preocupação de Nochlin de revogar o argumento centrado na biologia, em prol de uma análise social da condição da mulher.
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Ramadan, Lina Nabih. "The Role of Women Artists in Qatar and the Representation of their Work in Mathaf: Arab Museum of Modern Art". In Qatar Foundation Annual Research Conference Proceedings. Hamad bin Khalifa University Press (HBKU Press), 2016. http://dx.doi.org/10.5339/qfarc.2016.sshasp2487.

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Andreopoulou, Areti, e Visda Goudarzi. "Reflections on the Representation of Women in the International Conferences on Auditory Displays (ICAD)". In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.031.

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This paper investigates the representation of women researchers and artists in the conferences of the International Community for Auditory Display (ICAD). In the absence of an organized membership mechanism and/or publicly available records of conference attendees, this topic was approached through the study of publication and authorship patterns of female researchers in ICAD conferences. Temporal analysis showed that, even though there has been an increase in the number of publications co-authored by female researchers, the annual percentage of female authors remained in relatively unchanged levels (mean = 17.9%) throughout the history of ICAD conferences. This level, even though low, remains within the reported percentages of female representation in other communities with related disciplines, such as the International Computer Music Association (ICMA) and the Conferences of the International Society for Music Information Retrieval (ISMIR), and significantly higher than in more audio engineering-related communities, such as the Audio Engineering Society (AES).
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Salman Hassan HADLA, Halah. "Aurora Leigh : The Outlet of A Muted Voice a Study of Aurora Leigh by Elizabeth Barrett Browning". In V. INTERNATIONAL RESEARCH CONGRESS OF CONTEMPORARY STUDIES IN SOCIAL SCIENCES. Rimar Academy, 2022. http://dx.doi.org/10.47832/rimarcongress5-11.

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Aurora Leigh has always been discussed with a feminist trace. Barrett Browning subverts patriarchal hegemony in favor of feminism, together with shedding light on humanitarian characteristics. Browning is a humanist as well as a feminist because she tends to deal with human flaws and strengths. This paper discusses how Aurora Leigh is an epic-poem that reflects humanitarian attitude as much as feminism. In the poem, Barrett Browning refuses to question the morality and chastity of women yet she raises the flag for the need to liberate women intellectually. Since Barrett Browning’s ultimate aim behind writing her nine books is to achieve a self-realization to herself as well as her character, she projects a character that looks for her self-identity through her relation to others. Aurora manages to accomplish her goal in becoming a better version of herself through her encounter with upper-and-lower classes and through male/ female relations. However, Aurora’s ultimate self-realization springs from her fluctuated position with her suiter’s two proposals and his attitude towards women’s artists. Such relations are revealed through three main characters: Marian Erle, Lady Waldermar, and Romney. The overlap of theses relations help Aurora during her journey to become ‘a better self’ and thus, reflect the humanitarian and the feminist characterizations. This paper concludes that the ultimate message of Browning is a humanitarian one with a feminist touch.
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Burleson, Grace, Brian Butcher, Brianna Goodwin e Kendra Sharp. "Assisting Economic Opportunity for Women Through Appropriate Engineering Design of a Soap-Making Process in Uganda". In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59715.

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TERREWODE, a non-governmental organization in Uganda, works to eradicate obstetric fistula in local communities and provide income-generating skills training to the affected women. Obstetric fistula is a traumatic childbirth injury caused by prolonged, obstructed labor and delayed intervention. The condition is preventable with proper medical attention, however, in rural areas women who suffer from the condition are typically disowned from their families and communities [1]. As part of their social reintegration program, TERREWODE provides training for women post-treatment in multiple income-generating skill areas; jewelry making, baking, cooking, sewing, and buying/selling produce. The soap-making idea originated within TERREWODE itself and is intended to create an income stream for the women participating. The scope of this senior capstone project, in collaboration with several organizations, is to increase efficiency, reliability, and repeatability of the soap-making process and explore potential avenues for powering the system in an off-grid setting. A weighted-design matrix was used to make engineering decisions throughout the project. The two primary engineering aspects of this project were the selection of soap-making process (hot vs. cold) and the selection of a mixing device and powering unit. Understanding of appropriate manufacturing technologies in Uganda was necessary as all materials and tools needed to be locally available for success for the project. The hot process requires maintaining the soap mixture at a constant temperature for roughly two hours or until the gel phase occurs. This process allows for a short curing time, permitting the soap to be ready for use sooner. Opposing this, the cold process requires little cook time but a lengthy curing time. Experimental data showed that maintaining a consistent temperature over an extended period of time while using a cookstove is nearly impossible, even in a controlled lab environment. The cold process was selected as a better suited solution for manufacturing due to field conditions and available resources. A mixing device is crucial to the soap-making process. Due to the unreliability of grid-based electricity in the region, the team considered both a human-powered mixing solution and a solar-powered mixing solution [2]. TERREWODE leadership steered the team away from creating a human powered bike mixer for fear of discouraging women to participate, due to potential health and comfort issues. The team selected a solar powered system and has tested a U.S. manufactured prototype. The ultimate goal of this soap-making project is to provide an opportunity for victims and survivors of obstetric fistula to earn a livelihood. The work done by the Oregon State (OSU) mechanical engineering design team, in conjunction with the OSU Anthropology department, University of Oregon College of Business, several private artists and entrepreneurs, and TERREWODE, will provide potential improvements to the process and implementation plan to more effectively and economically create soap.
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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century". In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.

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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.
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Rapporti di organizzazioni sul tema "Women artists"

1

Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, marzo 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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2

Galenson, David. Who Were the Greatest Women Artists of the Twentieth Century? A Quantitative Investigation. Cambridge, MA: National Bureau of Economic Research, febbraio 2007. http://dx.doi.org/10.3386/w12928.

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3

Poloboc, Alina. Fancy Fifi. Intellectual Archive, dicembre 2023. http://dx.doi.org/10.32370/iaj.2996.

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The painting is a fascinating work that captures the essence of extravagance and vibrant lifestyle of Miami through its main character, a confident and fun-loving woman. The artist has depicted a stylish and elegant figure walking through the city streets with a posture that reflects her confidence and determination. The choice of blue as the main color throughout the painting is a bold and impactful decision. Blue is typically associated with tranquility and calmness, but the artist has used it to create an atmosphere full of energy and vitality. Additionally, there are eye-catching details in red colors, such as the painted lips, the crown on the head of the figure, as well as the shoes and bag, which give the painting a touch of glamour and sophistication. The use of color and details is a fundamental part of the artwork, helping to convey the personality and style of Fancy Fifi. The figure stands out against a neutral background, emphasizing her presence and making her even more striking. The composition of the painting is very well executed, conveying a sense of movement and dynamism. Overall, the painting "Fancy Fifi" is a work full of style and personality, capturing the essence of Miami and the extravagance of its main character. The artist has created a striking and attention-grabbing painting that is sure to captivate all viewers.
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4

Tsepkalo, Tetiana. SOCIAL ROLES AND STEREOTYPES OF FEMININITY IN THE ALMANAC «KURIER KRYVBASU». Ivan Franko National University of Lviv, marzo 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12172.

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The subject of this research is the social roles and stereotypes of femininity in the almanac «Kurier Kryvbasu». The aim of the study is to conduct a systematic analysis of gender stereotypes of femininity in the literary almanac. The article employs the following methods: theoretical – for studying gender theory, stereotyping, and their application in the analysis of the content of the periodical; systemic-structural analysis – for conducting a systematic analysis of the social roles of femininity in the almanac «Kurier Kryvbasu»; structural-typological – for studying the content and structure of the literary almanac; descriptive method - for interpreting women’s roles and stereotypes. Main findings. The role of gender stereotypes in representing women in the media texts of contemporary Ukrainian writers in the pages of the periodical almanac «Kurier Kryvbasu» has been elucidated. A systematic analysis of feminine social roles, including the beautiful woman, the businesswoman, the happy woman, the sex symbol, and the wife-mother, is presented. The social roles and stereotypes of femininity in the literary almanac «Kurier Kryvbasu» are interpreted according to the classification of G. Kovalova and V. Danilyan. Conclusions. In the almanac «Kurier Kryvbasu», entrenched perceptions regarding women’s model appearance, their frivolity and accessibility, professional inferiority, sexual objectification, competent housekeeping, maternal duties, and the pursuit of illusory «female happiness» in the form of marriage, family, and children are used. However, a trend of feminist rise is observed, where the pages of the magazine describe women’s career successes, self-actualization, participation in military actions, etc. Significance. The analysis of gender stereotypes, both femininity and masculinity, in Ukrainian literary-artistic periodicals is important for the development of the contemporary media sphere, as such research will encourage editorial teams to direct media content towards gender balance and gender equality. Key words: gender stereotypes, social role, femininity, journal, literary magazine, media text.
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5

Berggren, Erik. Migration and Culture. Linköping University Electronic Press, agosto 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.
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6

Latin American Artists in Washington Collections. Inter-American Development Bank, agosto 1994. http://dx.doi.org/10.18235/0006223.

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Twenty-four artworks by major Latin American artists, from the Hirshhorn Museum and Sculpture Garden, the National Museum of Women in the Arts, the Art Museum of the Americas, the Samuel M. Greenbaum 1989 Trust, and the IDB Collection.
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7

Two Visions of El Salvador. Inter-American Development Bank, settembre 2000. http://dx.doi.org/10.18235/0006436.

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29 paintings and 1 sculpture by artists (including two women) from the early to late modern period of the 20th century, and 36 contemporary folk objects form this exhibition which juxtaposes the art of two different sectors of society ­the formally trained and the spontaneous, reflecting the circumstances and the social environments of each, but making all part of the national memory. The works come from the National Collection, the Julia Díaz Foundation-Museo Forma, and the INAR Foundation collection.
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