Hannah Wilke : The Youngest Child Of Jewish Parents, Selma And Emanuel Butter

In relation to Brown’s work, we can see this individual expression emerging through her paintings by using reoccuring nude subjects that can be considered

(Millhouse, 2011) In the 1980’s Pollock’s Feminism “critiqued the essential myths of individualism, the artist, and the social constructions of femininity and masculinity that define bourgeois culture”. While the 70’s feminism movement aim was to stand next to the existing masculine dominated culture. “Feminism's encounter with the canon has been complexed and many-leveled: political ,ideology,mythological,methodological and psycho-symbolic” (Pollock, 1999). The 1970’s movement was followed by the immediate task which was “the need to rectify the gaps in historical knowledge created by the consistent omission of women of all cultures from the history of art” (Pollock, 1999). The only art that was put on display was significantly male dominated work, if you wanted to see work created by women, you would have to view them “in a basement or storeroom of a national gallery” (Pollock, 1999). Female artists are only known in their own category of female artists while male artists don’t require a separate category . Art that is created by females have been historically dismissed from the art historical canon as craft, as opposed to fine art. The evident of

Hannah’s background as a Holocaust survivor is important for understanding the experience of the Holocaust. Her story provides unique insight on the Holocaust outside of concentration camps, dispels myths, and captivates the emotional aura of living during the Holocaust. Hannah’s story is one of resistance, danger, and the importance of family.

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).

Julie Becker was born in 1972, and passed away in 2016 at the age of 43[i]. Los Angeles was an integral part of her life as she grew up, created, and died in L.A; however she studied briefly at Hochschule der Kunste, Berlin in 1991 and completed a residency in Basel, Switzerland at Stiftlung Laurenz-Haus Foundation. Becker was the daughter of artists[ii], and subsequently grew up in constant travel from one apartment to the next while her parents worked odd jobs to survive. In lieu of finishing her senior year at Santa Monica High School, she became the youngest student ever to attend California Institute of the Arts in 1989 at the age of 16. From CalArts in Valencia, Becker received her BFA in 1993, and her MFA in 1995. Paul Schimmel, curator at the L.A Museum of Contemporary Art, selected Becker’s MFA thesis project, Researchers, Residents, A Place to Rest 1993-96, for the 23rd São Paulo Biennial, where she was the youngest participant.

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.

Hannah Harrison was born on April 9th, 1998, in Beaumont, Texas. She moved to Louisiana after her mom married her step-dad in 2001. She is the youngest of a whopping five children. Growing up, Hannah was always taught that she must work for the items she wanted and to treat people the way she would wish to be treated. Many of Hannah’s friends look up to her because she is a wonderful worker, incredibly kind, and she loves the Lord with a passion that is uncommon in today’s society.

The first topic we discussed was her family life. When i interviewed Hannah she had shared that she is sixteen years of age, born on April,26th 1999 in Grand Junction,Colorado. Next, she shared in the interview that she moved to Greensburg.Pennsylvania three years ago ,before that she lived in Rangely, Colorado. She had also shared with me,that she has a brother named Evan,who is a freshman at Hempfield, who is autistic as well. Hannah has two pets in her family, they are two dogs named Bella and Ella, one of the dogs is a pitbull and boxer

Consider it: A naked bald figure shouts, “To be, or not to be” (3.1.56) / “I eject all the sperm I have received” (Müller 214), in a hyperfeminine body with a still intact penis. In August 2014, Canadian transgender performance artist Nina Arsenault performed selections of Shakespeare’s Hamlet and Heiner Müller’s Hamletmachine at the Palais des Papes in I AM, directed by Lemi Ponifasio. Arsenault is a multi-disciplinary artist who has had more than sixty cosmetic procedures to feminize and beautify her formerly male body; yet she decided to retain her penis. The corporeality of Arsenault’s body records the surgical modifications she has made to her own body, including silicone injections, facelifts and other procedures. This transformation was driven by the virtuosic intent of becoming her own ideal version of

Judy Chicago’s feminist artistic career ironically began with minimalist styled art. Minimalist art is defined by the Tate (a highly respected institution in London that runs 4 separate museums) as “an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle”. Its essence is best condensed by artist Frank Stella when he describes his minimalist paintings as “What you see is what you see”. Judy Chicago was trained as a minimalist artist and she explains in a lecture she gave at the Carpenter Performing Arts Center in Long Beach, California that “during the first decade of my career I experienced two forms of censorship the first was self-censorship

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

Audrey Flack is an American artist from New York and is best known for her photorealist paintings and sculptures. Photorealism is defined as a movement that began in the ‘60’s that provided “photographic precision”. The piece of artwork I selected for my formal analysis is Flack’s “Marilyn” (Vanitas, 1977). “Marilyn” expresses photorealism and abstract expressionism. I chose this painting because my girlfriend is a huge fan of Marilyn Monroe.

Sally Mann’s series of photos titled Immediate Family tends to provoke a sense of discomfort in the viewers. It is unclear why until a closer look is paid to the artwork. I will be focusing on her photo of her eldest daughter in the white dress primarily but will mention other works as well. Her works make us feel agitated because they demonstrate the vulnerability of youth both through the product and the creation of the art. In her last piece, the focus is on a young woman curled in defensively around herself, gripping a cigarette in one hand and shielding her body with the other.

The first artist in the exposition is Hannah Alpha. Born in Egypt, she’s a McGill alumni who uses the minimalism style of painting, which is the art of using simplistic design to create maximum impact. The paintings grab your attention due to their abstractness. However they fail to portray the artist’s meaning. Her collection, called “La danse cosmique” (The cosmic dance), is her search to “attain a state of supreme

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