Tesi: "Women artists"

1

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

Testo completo

Abstract (sommario):

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.

Gli stili APA, Harvard, Vancouver, ISO e altri

2

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.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

3

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

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

4

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

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

5

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.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

6

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

Testo completo

Abstract (sommario):

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.

Gli stili APA, Harvard, Vancouver, ISO e altri

7

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.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

8

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.

Testo completo

Abstract (sommario):

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.

Gli stili APA, Harvard, Vancouver, ISO e altri

9

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.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

10

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

Testo completo

Abstract (sommario):

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.

Gli stili APA, Harvard, Vancouver, ISO e altri

11

Tolley, Rebecca. "Review of Life Stories of Women Artists 1550-1800". Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/5654.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

12

Byrne, Debra J. "Feminine identities and the structuring of postmodern portraiture /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164493.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

13

Adley, Allyson Sarah. "Re-presenting diasporic difference, images of immigrant women by Canadian women artists, 1912-1935". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39122.pdf.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

14

McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)". Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.

Testo completo

Abstract (sommario):

Thesis (Ph. D.)--North Texas State University, 1986.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).

Gli stili APA, Harvard, Vancouver, ISO e altri

15

Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /". Diss., UMK access, 2006.

Cerca il testo completo

Abstract (sommario):

Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005.
"A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.

Gli stili APA, Harvard, Vancouver, ISO e altri

16

Memarzia, Mitra. "Contemporary Iranian women artists : a practice based analysis of identity". Thesis, Sheffield Hallam University, 2006. http://shura.shu.ac.uk/20054/.

Testo completo

Abstract (sommario):

This research has been concerned with the overall notion of the crisis of identity in Iran. More specifically, this research involved 20 contemporary Iranian women artists; 10 living in Iran and 10 living in exile and examines the position of women and the ways the notion of identity is reflected in their artworks, and viewpoints. The researcher's position as a contemporary Iranian woman artist living and working in the UK has been integral to the enquiry. As a member of the group being explored this position has allowed personal experience to be used in order to achieve a deeper understanding of the issues involved. Due to the lack of material on issues relating to the subject, the researcher made numerous visits to Iran in order to interview the artists and collect relevant data. This allowed the research to be conducted from the two viewpoints of the "East" and the "West". Due to the central role of the researcher in this practice-based study, a process of reflection in the spirit of the reflective practitioner was adopted as part of the overall methodology. Through a multimethod approach this investigation has used various forms of enquiry in order to integrate different elements in the research, such as the analysis of documentary sources and visual interpretation of artefacts. This has provided the research with a wide range of material that has enhanced the study's aims and outcomes. This investigation has also explored the historical changes that have affected Iranians, in particular the artists and the researcher. The prominent recent changes have been identified as the Islamic Revolution (1979), the Iran-Iraq war (1980-1988), and Western influences. These changes amongst others have been analysed from the perspective of literary and cultural theory. Theories of identity were studied and examined in relation to the artists in order to clarify their particular positions. This research has identified the complexities of the issues surrounding Iranian women's identities. The two groups of artists have shown similarities and differences due to similar underlying issues of being Iranian women and differences due to their audiences and positioning inside and outside Iran. Both groups have shown concerns with the notion of displacement expressed in interviews and illustrated in their artefacts. This research is a timely exploration of Iranian women's identities; a group of women that are still under-examined. With the current climate of political suspicion between Muslim countries such as Iran and the West, in particular the USA, this research is a valuable insight into understanding Iranian women's issues, and more generally Iranian identity.

Gli stili APA, Harvard, Vancouver, ISO e altri

17

Montgomery, Janet Elise. "Women contemporary Western-style artists in Japan : Ethnographic case studies /". The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862399449621.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

18

Thornton, Meghan Schwain Kristin. "The impression of humor Mary Cassatt and her rendering of wit /". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6530.

Testo completo

Abstract (sommario):

Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.

Gli stili APA, Harvard, Vancouver, ISO e altri

19

Gamelin, Anastasia Kamanos. "Home and away : the female artist in academia". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36933.

Testo completo

Abstract (sommario):

This dissertation explores the conflicts, contradictions and paradoxes inherent in the lives of those women who, as artists and academics, seek to connect their personal and professional lives in their work. It explores how creativity and the pursuit of self-knowledge relate to the lives of female artists and academics. The dissertation arises from a study of my own experience as woman, writer and academic.
Inquiries into creativity and feminist, critical and cultural theory provide the framework for examining how the identity of the female artist is shaped within the patriarchal institution of academia, an institution originally created by, and for, men and still strongly influenced by this history. These inquiries allow a deeper understanding of the impact of this institution on the life and work of the female artist both within and beyond the academy. As a self-study, the distinctive voice of this dissertation is developed through autobiographical narratives, journals, letters and a development of personal metaphors, as well as through a dialogue with others. This is therefore a performative text in which narratives map a process of transformation that traces the artist's path from silence to voice.
This work has important implications for women in higher education as self-study is revealed to be an essential methodological instrument for the articulation of alternative, authentic perspectives of marginalized and under-represented women. Moreover, the acknowledgement of the academic/artist paradigm in teacher education opens the path for a re-viewing of the metaphors of self-denial, impersonation and masks that are part of the landscape of teacher knowledge.

Gli stili APA, Harvard, Vancouver, ISO e altri

20

Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture". Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.

Testo completo

Abstract (sommario):

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Anthropology

Gli stili APA, Harvard, Vancouver, ISO e altri

21

Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

22

Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /". Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

23

Missia, Frano G. "Painting the nude by male artists in Western art /". Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.

Testo completo

Abstract (sommario):

Thesis (Ed.D.)--Teachers College, Columbia University, 1993.
Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).

Gli stili APA, Harvard, Vancouver, ISO e altri

24

Meskimmon, Marsha Gretta. "Women artists and the Neue Sachlichkeit : Grethe Jürgens and Gerta Overbeck". Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35698.

Testo completo

Abstract (sommario):

This work examines the complex relationship between gender and the work of women artists associated with the Neue Sachlichkeit. The critical 'realism' of the Weimar Republic has become best-known through the work of artists such as Otto Dix, George Grosz and Christian Schad, but a number of women artists also engaged with the aesthetic, including Grethe Jurgens and Gerta Overbeck. Jurgens and Overbeck were part of the Hanoverian regional variation of the Neue Sachlichkeit which flourished between 1925 and 1938. In this thesis, the works of Jurgens and Overbeck are examined with particular reference to the gender politics of the Weimar Republic. Rather than rely upon masculine-normative practices which privilege individual artists and biographical techniques, this thesis explores four themes in the representations of the artists within the wider context of gendered cultural ideology. The first chapter takes as its theme the asymmetrical situation of men and women with respect to the concept of the 'artist' and evaluates the ways in which women realists of the period produced strong, artistic identities through their art. Chapter Two explores the pervasive association of domesticity with women in terms of the representations produced by Jurgens and Overbeck. The third and fourth chapters turn toward the public sphere and examine the ways in which gender conditioned the responses of the artists to the subjects of other women and politics. This work is vital for three reasons. First, it provides information about the work of a number of artists hitherto under-researched and under-valued. Second, the work attests to the active role of gender in the Neue Sachlichkeit and exposes the male-centredness of the movement. Third, it combines theoretical ideas and practice meaningfully; it is an example of feminist praxis in the study of women artists.

Gli stili APA, Harvard, Vancouver, ISO e altri

25

Broadhurst, Maura Lesley. "Strategic spaces : towards a genealogy of women artists' groups in Canada". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0002/MQ40226.pdf.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

26

Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place". Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

27

Perkins, Gillian Hugman. "Issues in the construction of identity of some contemporary women artists". Thesis, University of Northampton, 1999. http://nectar.northampton.ac.uk/2979/.

Testo completo

Abstract (sommario):

This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line with feminist theories, which privilege gender as a defining characteristic of people’s experience. This is not to sanction notions of essentialism and therefore the research does not seek to universalise the position “woman”, but rather attempts to gain an understanding of the diversity of women’s experiences. To that end, the research data were collected through the use of both questionnaires and in-depth, semi-structured interviews. Five main categories emerged from the interviews, which formed the basis of the data analysis and interpretation. These were: issues concerning the conventional image of the artist and the limited availability of role models this provides for women artists; the relationship between women’s sense of their identity as females and its impact on their ability to combine that with an artist identity; the role of higher art education in constructing images of the artist; the part played by women artists’ social relations, including their relationships and roles within the family; and the models and realities of working practices, including the implications of the site of production and forms of dissemination. Two patterns emerged in my sample group regarding the various ways of constructing an artist identity. They largely reflected the impact of socialisation which, it would appear, requires women to adopt either a traditional female role around which the artist identity somehow has to be worked, or a traditional artist role which still challenges the adoption of a certain kind of female identity. The women in my sample group, however, showed signs of attempting to negotiate their own pathways towards complex and multiple identities; a process made more intricate for women with an additional identity of mother

Gli stili APA, Harvard, Vancouver, ISO e altri

28

Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia". Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

29

Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

30

Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists". FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.

Testo completo

Abstract (sommario):

Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.

Gli stili APA, Harvard, Vancouver, ISO e altri

31

Tyreman, Katie. "Between Women: Visualizing Victorian Women Artists’ Identities through Art Movements, Media and Scale, c. 1848-1898". Thesis, University of York, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594222.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

32

Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.

Testo completo

Abstract (sommario):

As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.

Gli stili APA, Harvard, Vancouver, ISO e altri

33

Iggulden, Annette, e mikewood@deakin edu au. "Women's silence: In the space of words and images". Deakin University. School of Contemporary Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.120456.

Testo completo

Abstract (sommario):

My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of mute silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may re-write the text and speak their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is silent and disembodied from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

Gli stili APA, Harvard, Vancouver, ISO e altri

34

Cavagnaro, Loretta Maureen. "Eva Hesse in exhibition : contexts and categories /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

35

Bateman, Genevieve. "Creative misreadings: allegory in Tracey Rose's Ciao Bella". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1009506.

Testo completo

Abstract (sommario):

This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.

Gli stili APA, Harvard, Vancouver, ISO e altri

36

Jacquin, M. C. "Narrative unrest : the politics of narrative in women artists' film and video". Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1396991/.

Testo completo

Abstract (sommario):

This dissertation examines the politics of narrative in women artists’ film and video. It investigates not only how narrative was and is used as a powerful instrument to offer counter-discourses to those sanctioned by the dominant culture, but also how narrative forms themselves can be invested with political significance. Starting in the 1960s, the supposed neutrality of narrative forms came under sustained attack, particularly by post-structuralist thinkers such as Roland Barthes, Michel Foucault and Julia Kristeva. Their political critique of narrative quickly found its way into the work of experimental film and video makers, whose responses ranged from total rejection to partial and conflicted acceptance. Part One of this thesis seeks to understand the various ways in which narrative was reshaped in the work of women filmmakers and video artists from the 1970s and 1980s – who, I argue, could not do away with narrative as easily as men. It focuses on the independent scene in Britain, revealing the impact of feminist theory and the women’s movement on the ‘return to narrative’ in British avant-garde film and video, and the major contribution of women artists to the deconstruction and refashioning of narrative forms. It also proposes detailed analyses of particular narrative strategies, as found in the work of Laura Mulvey, Lis Rhodes, Tina Keane and Zoe Redman, among others. Part Two brings the question of the politics of narrative into the twenty-first century through an in-depth discussion of three contemporary video installations by Chantal Akerman, Eija-Liisa Ahtila, and Catherine Sullivan. It shows how the narrative strategies deployed by an older generation of film and video makers have been re-articulated in new ways in these works, and proposes new terms to understand the use, meaning, and political resonance of narrative in contemporary film and video: Porous, Schizophrenic and Contagious.

Gli stili APA, Harvard, Vancouver, ISO e altri

37

Photiou, Maria. "Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus". Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.

Testo completo

Abstract (sommario):

This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.

Gli stili APA, Harvard, Vancouver, ISO e altri

38

Kim, Gumsun. "A question of equality : women and women's art under patriarchal society /". View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030801.151817/index.html.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

39

Queiros, Doralice Alves de. "Mulheres cordelistas : percepções do universo feminino na literatura de cordel /". Belo Horizonte : Faculdade de Letras da UFMG, 2006. http://www.bibliotecadigital.ufmg.br/dspace/bitstream/1843/ALDR-6WEK7J/1/disserta__o.pdf.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

40

Skelly, Julia. "No strangers to beauty : contemporary black female artists, Saartje Baartman and the Hottentot Venus body". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97824.

Testo completo

Abstract (sommario):

Saartje BaartJnan was a South African woman who signed a contract in 1810 that effectively made her the property of two white men wishing to exhibit her in Europe because of the shape and color of her body. In this text 1 examine two very different categories of representations of Baartman. First, I discuss images that were produced during Baartman's lifetime that discursively transformed her from a black woman with an identity into a pathologized body known as the Hottentot Venus, and second, I discuss the contemporary black female artists who are producing art inspired by Baartman in order to problematize the racist and sexist assumptions that have been inscribed on the black female body. My research encompasses important scholarship done by white feminist art historians, as well as that by black feminist theorists, and my thoughts on this subject have also been informed tremendously by work that has been done on the visual culture of slavery and on racist stereotypes by post-colonial scholars.

Gli stili APA, Harvard, Vancouver, ISO e altri

41

Lee, Sharon Yih-Chih. "The career development of Asian American female visual artists". Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4869.

Testo completo

Abstract (sommario):

The Asian American population is one of the fastest growing racial groups within the United States, and will soon become a significant proportion of the nations' work force (Census, 2008). It is important for counselors and other helping professional to better understand the needs of this population in order to better prepare them for the nation's workforce. Given the limitations of the current knowledge pertaining to Asian American career development, researchers have called for additional studies examining the career development process for Asian Americans (Flores et al., 2006; Leong & Serifica, 1995). A notable gap in today's Asian American vocational literature is on the career development process for those who pursue underrepresented occupations, such as work in the humanities and arts. Researchers have noted that Asian American vocational research has predominantly focused on occupations in which there are more representation, such as Investigative or Enterprising fields (Escueta & O'brien, 1991), the unique career concerns of specific ethnic groups (Kim, 1993; Yang, 1991), familial involvement in career (Tang, Fouad, & Smith, 2004), or provides a broad conceptualization of career development of Asian Americans (Leong, 1986; Leong, 1991). However, there are no studies that examine the intersection of gender, race, and nontraditional career choices for Asian American women. This is especially true for occupational field that is often ignored in vocational research, such as the Artistic field (Ng, Lee, & Pack, 2007). Little is known regarding the why and how Asian American women choose to go into a field that is nontraditional and in which they are underrepresented. Further examination of this will allow helping professionals to gain a better understand the challenges and resiliency factors that influence Asian American women, especially those who choose to enter difficult field often not well regarded as an ideal career by family or society. The purpose of this study was to investigate the following questions: (1) What are unique aspects of the career development of early career Asian American female visual artists, (2) how do contextual factors in Asian American female visual artists' career development impact both their psychological and vocational well-being, and (3) what are the major supports and barriers for Asian Americans females in pursuing an Artistic career? Utilizing Consensual Qualitative Research (CQR) methodology (Hill, Thompson, & Williams, 1997), Asian American female early career visual artists were recruited, identified, and screened nationally through an online survey. Twelve East (n=10) and Southeast (n=2) Asian American female visual artists between the ages of 21 - 35 were interviewed utilizing a semi-structured interview protocol. Eight domains emerged from the analysis of the results: 1) Description of career path into the visual arts, (4) Ecological factors impacting overall career, (5) Financial influences on the career development, (6) Perceived additional skills and resources needed for career, (2) Influences on art work and artist identity, (3) Individual strengths contributing to career development, (7) Influences of support on career development, (8) Perceived barriers to career development. A detailed summary of these results, implications of these findings and recommendations for clinical work and future research will be provided.

Gli stili APA, Harvard, Vancouver, ISO e altri

42

Poole, Tanya Katherine. "An exploration of female physicality and psyche and how these inform art-making". Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002215.

Testo completo

Abstract (sommario):

This thesis proposes that female physicality informs the psyche and thus in turn, art-making. My argument will be shown to be apposite and informative to the discussion of the work of Paula Rego, Jenny Saville and Cindy Sherman. Furthermore such an understanding is helpful to a reading of my practice. In examining issues of identity, which contribute to the formulation of a distinctly female psyche, I will base my critique on the philosophical positions of Sartre, de Beauvoir and Paglia.

Gli stili APA, Harvard, Vancouver, ISO e altri

43

Malone, Kelsey Frady. "Sisterhood as Strategy| The Collaborations of American Women Artists in the Gilded Age". Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877154.

Testo completo

Abstract (sommario):

This dissertation employs four case studies—illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans—to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the “professional” artist.

“Sisterhood as Strategy” intersects with important work in the fields of American History, Women’s and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women’s artistic production and more focused scholarly studies on women’s labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists’ letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies’ magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.

Gli stili APA, Harvard, Vancouver, ISO e altri

44

Abowd, Gabriele Therese. "Making room for art case studies of midwestern women artists and their studios /". [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3324529.

Testo completo

Abstract (sommario):

Thesis (Ph.D.)--Indiana University, School of Education, 2008.
Title from home page (viewed on May 12, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2990. Adviser: Lara Lackey.

Gli stili APA, Harvard, Vancouver, ISO e altri

45

Bancroft, Bronwyn Maree. "Passion, Power, Politics: Does Inequality exist for New South Wales Aboriginal Women Artists?" Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20356.

Testo completo

Abstract (sommario):

The motivation for creating this thesis was primarily to research and understand if inequality existed for Aboriginal women artists from the state of New South Wales. I produced a documentary where I interviewed six Aboriginal language group women who created art in the state based boundaries of New South Wales.I also conducted a research component around the acquisition of art by the Art Gallery of New South Wales. I collected a lot of data around this and was not surprised to find that there was minimal collection of any women artists from New South Wales. My line of inquiry has established a clear foundation based on facts that Aboriginal women artists are treated in an unfair manner by the majority of curators in the Aboriginal area and the Art Gallery of New South Wales.I have also created a chapter called ‘The Journey' that outlines my life from a young Aboriginal girl to a mature woman artist and a chapter titled 'Artistic practice' that illustrates my career spanning over thirty years.I have created a case study on Boomalli Aboriginal Artists Co-operative that provides an extensive profile of the politics and power struggles of this Aboriginal Co-operative.

Gli stili APA, Harvard, Vancouver, ISO e altri

46

Tolley, Rebecca. "Review of A Studio of Her Own: Women Artists in Boston 1870-1940". Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5705.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

47

Carpes, Mariza. "Fragments of a life : constructing a personal story". Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935918.

Testo completo

Abstract (sommario):

Renew thyself completely each day; do it again, and again, and forever again.Jon Kabat-Zinn, Wherever You Go There You AreThe above quotation sums up my feelings about this thesis. By reviewing my life I feel a sense of renewal. I think that my memories are true and accurate. My story certainly is a living memory of my time. I have found that in telling my story I have purged myself of much of my past and refreshed myself in mind and spirit.I start my story by reviewing the three artists who have influenced my work over the past two years, Squeak Carnwath, Jean Hammond and Nancy Spero.I then give a chronological resume of my life to date: my time as a mother, teacher and artist. I describe some of my earlier works together with the moods and emotions which accompanied them. The latter part of the chapter deals with my life in the United States and how my work is developing and the many influences which are helping in this process.In Chapter 3, I talk about my imagery and my latest thoughts as an artist, and go on to describe the paintings which make up the exhibition which accompanies this thesis.Finally, I have attempted to evaluate the fragments of my life, fragments which make up the whole. This is my catharsis. I have released much of myself and my inhibitions. I have absorbed a variety of stimuli and felt a multitude of sensations. My emotions have ebbed to and fro, and in retelling my story I have renewed myself.
Department of Art

Gli stili APA, Harvard, Vancouver, ISO e altri

48

Neal, Christine Crafts. "The life and works of Claude Hirst (1855-1942) /". free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901264.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

49

Gentry, Erin. "Girls' Night Out: Female Graffiti Artists in a Gendered City". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206212108.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

50

Bradley, Jessica. "Postmodern bodies and feminist art practice". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.

Testo completo

Abstract (sommario):

This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.

Gli stili APA, Harvard, Vancouver, ISO e altri

Tesi sul tema "Women artists"

Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili