Analysis Of Guerrilla Girls

The question of “why feminism?” has been presented to a number of female artists who deal with strong constructions of gender in their work. The answer, overwhelmingly, has been the desire to modify stereotypes about women that have prevailed in male-dominated art history. In the 1960’s, women who explored “feminist” issues in their art were criticized, causing mass mobilization and conscious raising as to what, exactly, was the purpose of feminist art (Crowell, 1991). Since that time, women have been trying desperately to overturn the art world and rescind the traditional stereotypes and images that have plagued them. Feminist artists created somewhat of a unified front during that

Similar to postmodern art, Faith Ringgold's work appropriates unmistakable imagery and other artistic practices to offer basic social editorial. She provokes us to consider expectations for gender and race, and in addition customary desires and estimations of what art may be. Through picture and content, Ringgold changes history to make a place for women like herself in its historical advancement.

Major Claim: In the Second Wave of Feminism, a group of feminist artists enacted the group entitled the "Guerrilla Girls". In addition, this group of activists fight against the discrimination amidst the world of art by creating various medias of the Arts through literature, studio art, advertisement, public and public display. This is to counteract their oppressors within the field of art. In Anne Teresa Demo's Essay "The Guerrilla Girls' Comic Politics of Subversion", she analyzes the rhetorical approaches the association utilizes in aid towards resistance.

Nationwide Organization, Girls on The Run, encourages local Fair Haven Girls to lead a healthy and confident life, while integrating running. The Nonprofit Youth Organization, focusing primarily on the wellness and happiness of adolescent girls, has spread to over 200 councils in 50 states. The locally run, regional program, based in Fair Haven intermingles young girls from Fair Haven, Rumson and Little Silver. The Fair Haven Council is composed of grades third through sixth, coached by mother and fellow runner, Sue Flynn.

According to Guerrilla Girls website, “We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders…. We also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls, including our 2015 stealth projection about income inequality and the super-rich hijacking art on the facade of the Whitney Museum in New York” (Guerrilla Girls). I perceive the Guerrilla Girls movement to be fierce and funny, but yet impressive, and effectively as a whole. Their messages allowed them to have

Art was a way for women to highlight inequality and prejudice they faced. Their art reflected the unfair treatment that endured. Though not too much feminist art was produced at this time it did pave way for activism. Frida Kahlo was a female painter who was well known for depicting feminist themes in her paintings. Some of her paintings exposed unhealthy marriages, domestic violence, and the effects they had. Though she didn’t have a feminist intent, Kahlo became a representative for the feminist movement, and many of her paintings were used as

Judy Chicago (artist, author, feminist and educator) has a career that now spans five decades. In the late 1960s, her inquiry into the history of women began a result of her desire to expose the truth of women’s experiences, both past and present. She still continues on a crusade to change the perception of women from our history, “Women’s history and women’s art need to become part of our cultural and intellectual heritage.” (Chicago, 2011) Through our history women - their struggles, accomplishments and contribution to history, have been overlooked, downplayed and even completely written out of a male dominated society and culture. In anthropologist Sherry Ortner’s 1974 essay “Is Female to Male as Nature Is to Culture?” she supports this view, writing “…woman is being identified with—or, if you will, seems to be a symbol of—something that every culture devalues,” (Ortner, 1974) Where Mendieta's work primarily came from a striving to belong and an understanding of where she came from, I feel that Chicago's aim was to find a place for all women, past and present in this world, starting with herself in the art world. Chicago did explore her peronal heritage in later works entitled 'Birth Project' and 'Holocaust Project'.

In examinations of women’s art and activism, researchers claim that the results of these activist groups' performances are almost always challenging the cultural assumptions about genders. In “Code Pink, Raging Grannies, and the Missile Dick Chicks: Feminist Performance Activism in the Contemporary Anti-War Movement,” Rachel V. Kutz-Flamebaum argues that feminist performance activist groups integrate a combination of gender norm-embracing and norm-challenging elements in their performances. By spreading their viewpoints as they attempt to gain public attention and legitimate results from mass media, these feminist demonstrations in both Emily Anderson’s “Treacherous Pin-ups, Politicized

Historically and currently African American women use art as a way to express themselves, their emotions and as an act of resistance. In this paper, I will discuss the various ways two very influential artists, Laurie Cooper and Lorna Simpson, use imagery to uncover and forefront the various forms of oppression that affect their lives as African American women. Since the late 1970s, African American art, as a form of self expression, explores issues which concern African peoples worldwide. During this time period, African American artists use symbols which represent the struggles, despair, hopes and dreams of a people striving to debunk prominent stereotypes and dismantle the intersecting oppressions of race, class and

The second is that women’s lack of opportunity in education extended to the formal study of art, in particular the nude model. Finally, women who have been recognized for their art have done so because they have had supportive fathers, usually with a background in art, who have not allowed all institutional education to crush their

The Guerrilla Girls speak about sexism in art galleries and the non appreciation of women 's art in the most prestigious galleries of New York. “a very big problem is the fact women don 't collect. ... Men buy the art and call the shots museums. Until women support women and collect each things will never change" (Withers 287). Women artists new to the art world were not accepted, men artist bought their art to present as their own. This way women artist do not get the chance to be recognized for their talent. Making the assumption women are only valued as the model but cannot aspire to be artists and create exceptional work as men would. This is of importance because only 1% or none of the art presented was of women artists. “not only in their appeals to principles of equality, but also, say, in their gesture of adopting the names of deceased female artists as aliases, a gambit tacitly

The Guerrilla Girls states, “we wear gorilla masks to keep the focus on the issues rather than our personalities” (349). In other words, they would rather have the public concentrate on the real issues in this world such as racism and sexism then who they are as an individual. Their goals is to end discrimination against women racism in art. Back then, women had no rights to do anything but that has changed throughout the generations. However, there are still discriminations going on in our everyday lives around us that we’re not aware of. This is where the Guerrilla Girls step in to make a mark. There has been many great female artist out there that didn’t get the recognitions they deserved. It’s especially harder for those artist who aren’t

In exploring the complex relationship between gender and presentation in the culturally framed experience of painting appreciation, Tamar Garb introduces into her interpretations the concept of "the historical viewer" ("Gender" 276). She encourages us to destabilize viewing as a "natural, genderless or universal" experience, and in doing so to consider the shifting perspectives of the potential viewers throughout the lens of the ever-changing social-historical contexts. Specifically, Garb uncovers the assumption of male-dominance in the act of viewing. From the perspective of a male-viewer in a male-dominant culture where the female exists as an embodiment of an ideal form of beauty devoid of agency, the female nude appears to be an extension

I have been down to the gallery a few times of other classes and I can say that I have enjoyed each of the ones I have seen. Our experience was slightly different than the other exhibits I have seen down in the art gallery, not only because of the artwork being featured, but also because we were able to hold the artwork. I was amazed that we were allowed to hold the artwork in order to examine the pieces. I loved being able to hold the artwork and look for deeper meanings within the picture itself. Overall the Guerrilla girl’s talk was about feminism and how women were left out of the art industry, films (as directors), and politics. The speaker also mentioned that it was even harder for women of color to be represented within these groups.

While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized, and this is due to a large extent to their exclusion from the art world. My paper chooses to focus on a few female artists of the sixties and seventies who sought to make up for past history and ensure women were known. These women