Analysis Of Janine Is A Contemporary Artist With An Important Message Essay

A review of the world’s great artists conjures familiar images: Michelangelo’s Sistine Chapel; Vincent Van Gogh’s Starry Night; Pablo Picasso’s The Tragedy. There are many more, of course: Monet, Moya, Warhol, Rembrandt, Kandinsky. What is immediately noticeable, however, upon any brief study of art, is the significant absence of women as heralded artists—not only in our ancient pasts, but even today, amongst valiant efforts for gender equality.

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

“Art is the most intense mode of individualism that the world has known.” -Oscar Wilde. Women are wild, sensitive, magnificent, mysterious, and above all: individual. Art’s many different medias allowed artist throughout the ages to capture women at both their strongest and most vulnerable points. It has the power to capture a woman: as a naïve, young girl clutching her brother as they are painted into a lasting portrait, a golden statue of an angel sent down to Earth to help a saved man take his first steps into an eternal life with God, to the powerful goddess, Artemis, transforming a hunter into a deer and having his hunting dogs tragically attack him. The six pieces of art chosen express the individuality of each women who has walked, walks, and will walk the earth.

This artwork appears to be an abstract piece made from magazine clippings to create a collage. The artwork is a vertical piece that measures approximately 17 x14. It focuses in on the subject of a girl who is created out of neutral colors. She stands out against the rainbow background. In the background each clipping has a different element and pattern, but they all work in unison creating a rainbow background.

Every girl growing up always use to play dress up in clothes as a childhood past time for fun. Cindy Sherman used that passed time as a way to create art with photography and is known for her talent of this act and taking self-portraits of it. Her ideas come stereotypes of women throughout past and present society. These self-portraits are known to “confront and explore the representations of women in society.” (Jankauskas).

In addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus

In this paper I will evaluate two artworks that share the same theme of “motherhood and breastfeeding.” In the last few years, the sexualization of breastfeeding has become a big issue. This is due to people see breast as sexual objects and think that women are being exhibitionist, and are doing it just to flaunt their breasts in public. Breastfeeding mothers are faced with the public criticism as they struggle to breastfeed their child, although it is the most natural and healthy method of feeding. The first artwork is by Mary Cassatt and is titled Mother Rose Nursing her Child. This painting was created in the 1900s and it depicts a woman breastfeeding her child. The second piece is a contemporary portrait created by Catherine Opie titled Self-Portrait Nursing. The portrait depicts a modern mother also nursing her child. When comparing both of these pieces of art I plan to focus on the beauty of motherhood and the bond between mother and child. In this paper I will discuss the social issue of mother’s being criticized for breastfeeding in public. Now more than ever women’s breasts are being overly sexualized when they are not a sexual organ, but in fact a part of their body used to feed another human being.

In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators. Berger’s purpose is to make readers aware of how the perception of women in the art so that they will recognize the evolution of western cultured art.

This responsibility is laid upon artists as one that entails creating art that would promote advancement of the development of society and should also not be overly offensive to the general public or specific groups of people. There is no way to please everyone in this sense, but artists should try their best when working for the public. Art created by artists receiving public funding should hold personal meaning and display individual creativity imagination. An example of a work of art that upholds social responsibility is “Srikandi” by Lucia Hartini. This painting holds certain feminist values and challenges the traditional roles and expectations of women as being regarded as inferior and subordinate to the rules of men (Birch 1). Hartini shed light on the struggle that Indonesian women face every day as they are trapped in this social problem of

In an effort to change this objectification, O’Grady suggests that female artists must begin to reconstruct the subjectivity of black female subjects in art. They should reclaim the black female body as something to embrace and admire rather than just glance over. It is a slow and steady process but a necessary one. Furthermore, she strongly argues that the artist must do so even if her audience is uncomfortable with it because it is the best method to deconstruct a pre-existing idea of the black female subject.

No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman's photography is part of the culture and

She observes how breast cancer adverts would empower women, but ones for face cream would make you feel neurotic within a simple flip of a page. She used this dichotomy to step away from the historically weighted past of Renaissance and Pre-Raphaelite art movements, and find her own way to depict women, to paint her women in their own beautiful individuality. She paints “women who have been made to think they are big and disgusting, who imagine their thighs go on forever.” She sees human flesh like a piece of meat, she has stepped away from the history of perfect pubic hair, she gives her paintings no narrative, they are never in a room, a plain background is all they are given, she lets the paintings speak for themselves, invoke discussions, and show the disparity between the way women are perceived and the way they feel about their

There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman may only be playing "dress-up" (as she herself admits) in her famous History Portraits (1989-90) (Berne, 2003). On another level, however, her "dressing-up" may be indicative of a deeper problem in modern gender identity theory which is the problem of "becoming" woman (Butler, 1994) or, as Judith Butler sees it, the problem of performativity. In the History Portraits, Sherman may certainly be said to be "performing" and perhaps even attempting to "become" the male and female characters she represents in her work. Indeed, it is upon such a premise that philosopher critics and gender theorists find her work so engaging. This paper will examine Cindy Sherman and her History Portraits in relation to Judith Butler's gender theory, the portrayal of the self, and how gender identity has changed throughout the course of modern history. It will examine representations of womanhood from Romantic Idealism to Post-Modernism and will also

The little girl’s dress gives the texture of lightness and seems like airy fabric that would be thin and translucent. The time in this piece is very accurate of the late 1700’s and when viewing it, the time seems classic. The emphasis of this piece is mainly the mother and the daughter, however when looking at them you are drawn into looking at their realistic eyes. The eyes seem like the focal point which draws the viewer in to the picture.

The history of art dates back to ancient times. Artwork can be, and was, found around the world. What makes art interesting is that it can be created in any way, shape or form with any materials. It seems that the artwork can also tell us a lot about the artist. Art seems to be simply, a direct, visual reflection of the artist’s life. Therefore, one can assume that an artist’s life experiences and beliefs directly influence their art. If we look at examples from different periods of art we will be able to see the connection between the artist and the art.