My New Body Of Work

For this essay i have been asked to discuss a contemporary image from the last 30 years from fine art,design media or the everyday. I have decided to choose the Painting titled Plan (1993) by Jenny Saville, a contemporary British painter associated with the Young British Artists, known for her large-scale painted depictions of nude women.

This particular artwork could be interpreted as symbolic for identifying a future for sexual freedom of women; women being able to discuss themselves sexually, accept who they are and their individual beauty and the freedom to express female sexuality art, removing the stigma

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.

Since Georgia O’Keeffe defines Albert Stieglitz as this woman artist’s source of talent, it also derives how her painting should be interpreted from him. Both fictionalized and real Mr. Stieglitz perceive O’Keeffe’s art in the same manner, which is in psycho-analytic terms. As a result, Georgia O’Keeffe’s paintings are understood as being interconnected with her gender. In the television film, Stieglitz makes one critic declare, “Her great, painful, ecstatic climaxes makes us, at last, to know that when women feel strongly, they feel through the womb. They paint through the womb. Images of O’Keeffe’s flower paintings are presented alongside art critics’ comments like this and reinforces the concept that they illustrate the female genitals.

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.

“Untitled ” is a digital photograph created, taken, modeled and edited by Jessica Ledwich as a part of her “Monstrous Feminine” series. The artwork explores the radicalism of modern beauty

Fiona Hall and Barbara Kruger are both female post-modern artists. While their works both reflect the world and contemporary issues, Hall’s work focused more on the themes of sexuality, colonialism and society’s relationship with nature, while Kruger’s work is more political and mainly centred around the theme of feminism. As post-modern contemporary artists, their work is all about challenging the idea of the

Throughout history it has be seen that many white male artists have the advantage of being read on multiple levels, whilst women have been presented and reduced to just one angle of reading on their work, this being the case for the female artist Georgia O’keefe. Therefore this essay will look primarily into O’keeffes work on flowers, and particularly on how art critics and specifically male art critics perceived her work and the interpretations they ladened her work with, that she consistently denied for over six decades. The exact piece of work of Georgia O’keeffes i will be looking at is the Black Iris, 1926, Oil on Canvas, from the Alfred Stieglitz Collection.

While one painting shows the artist intersectional-feminist history, the other shows the artist musings and inspiration, but what is unique and special about these works still being displayed in an all feminine gallery is that these experiences and inspirations are shown as a part of their unique worldview. The two works may not require the context, but they are greatly enhanced as a part of the artist life because of the

“The colors and pictures we apply to our skin communicate our values and aspirations as well as our hopes and personal histories. Even when we adopt the “natural look” and don't adorn our skin at all, we are making a social statement. Our skin talks even when we don't; it is not a neutral canvas.” (Jablonski, 164) “Body art represents, among other things, a sustained effort to reverse the dematerialization of art by making the body matter.” (Taylor, 111)

The female body has always been a common symbol of sensual beauty or sexual experience. Sex and the senses are expressed in the simple and everyday aspects of our lives, the way we speak, write, draw, paint, stand and see the world around us. In contemporary art the theme of sex and sensation is abundant. This oil painting by Andy Denzler is an excellent representation of how sex, sensual experience, and sensation are represented and depicted in contemporary visual culture. The artist use of an individual subject, the female body, and a sundry of multisensory aspects gives a simplistic take on sensual beauty and sensation.

Women played a very distinct, yet changing role at the end of the 1800s. With that role they also saturated the realm of art, almost completely eclipsing men. This dominance of the female figure in art was partly the fault of the arguably chauvinistic attitude that the turn of the century male had in regard to women. Women of the late 1800’s into the early 1900’s were an extension of the man’s success and station in so-ciety. They were to be beautiful and helpless, completely reliant on the man.

Some of the female artists profiled in this unit are all united in their quest of projecting a unanimous theme of reclamation of the female sexuality and identity. They conveyed the impression that female sexual objectification was no longer for male or societal consumption but for a purpose for women to feel empowered. They also had an immerse understanding of genderism and the power it has; especially under societal pressures. Thus, female artists came to understand the ideology of individualism and therefore pursued the art of liberation and identity that no longer tolerated under the scope of muscularity.

Feminism and expression has been in women’s art since the 1970s, time does not change and movements continue. Antonis’ unique style helps her stand out during this shifting feminist art movement and art environment. Antonis’ work reflects the core principles of the movement: “women artists as being historically important and influential. These artists are her aesthetic, feminist heritage, and their concerns with the body, female beauty, identity, and constructions of femininity, as well as their methods of appropriation and questions of authorship, are all

The unprecedented number of women artists whom were creating portraits of other women as well as themselves unquestionably influenced the appearance of radical femininity in Modern portraiture. Each of these women brought with them their unique perspectives on femininity, many of which were dramatically different than that of their male counterparts. From Mary Cassatt 's depictions of mothers and children, to Romaine Brook’s and Gluck 's dandy-esque self-portrait, or Claude Cahun and Marcel Moore 's critical explorations of gender, these women created a new paradigm of female representation in art. All of these artists questioned and challenged the role of women in Parisian society by representing women in ways which were