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One way she transformed the negative into positive was constructing her sculptures out of disposable objects, such as lint. Her work was also have said to recall minimalism because she would display this work, usually, in an organized and repetitive manner. At this time in Hannah’s life, she was gaining a lot of momentum in the art world. Subsequently, her work was included in the “American Women Artists” exhibition in 1972 at the Kunsthaus in Berlin and the Documenta V in Kassel, West Germany (Scharlatt, M., Scharlatt, E., Scharlatt, D., & Scharlatt, A.). Her notable art was praised by many feminist publication groups, and in 1974, she was invited to join the “Anonymous Was a Woman” exhibition as well as “Art: A Woman’s Sensibility” exhibition held by the Feminist Art Program at the California Institute of the Arts (Scharlatt, M., Scharlatt, E., Scharlatt, D., & Scharlatt, A.).

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.

(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

It seemed to amaze her how they could tell her how they did theirs, but wouldn’t teach her how it’s actually done. All her paintings came from her traveling experience. I remember her saying how the clouds looked solid as she looked up and just imagined. She lived until she was 90, she died of old age. I admired the fact where she talked about how early she would wake up and what time she would be back after being out working as an artist because it showed how dedicated she was to her craft. There was a time when her drawings were put up in a museum without her knowing and she found out from someone else and got down to the bottom of

Jackson Pollock was a legendary, novel, abstract expressionist who has created numerous paintings through his drip-style, action painting technique (Goodnough, 2012). Theosophical influence arose from Phillip Guston and Thomas Hart Benton, while in the early stages of the artist’s life. Muralists, such as Jose Clemente Orozco and Diego Rivera were also admired and studied by Pollock. He was captivated by the unorthodox techniques of David Alfaro Siqueiros which contributed to the abstract style of Jackson Pollock (Solomon, 1987).

was a pioneer and led the way for future female painters to have the courage to become

Writing has many tools and devices that can be used to influence the purpose and meaning of the a piece of work. In the two pieces of work, "Private License Plate Scanners Amassing Vast Databases Open to Highest Bidders-which is written in a way that it is anti-license plate tracking- and "Who Has the Right to Track You?'-which is written to be for license plate tracking- many different tools and devices are used by the authors. These pieces of work describe the benefits and drawbacks of collecting data and tracking fellow citizens, but use different forms of pathos, ethos, and logos to portray what they are trying to say. Also, both articles state how many are opposed to this tracking, arguing that it is against the First Amendment,

Mary Cassatt is known world-wide for her impressing art in which she focuses mainly in the everyday life of women and children. She is an American artist born in Pennsylvania on May 22, 1844, but later relocates to Europe in 1866 to pursue to work in art. This was mainly due to her family’s and society’s objections to women in the field of art. There she met and befriended famous Impressionist Edgar Degas. Because of her close friendship with Degas, she grew courage to continue to do art in her own way. She continued to paint until she slowly began to lose her eyesight and later died in 1926. Cassatt was part of the Impressionist style movement, in which she painted portraits unlike many others who painted landscapes (biography.com). Her artwork

people that were closest to her. Alice Neel didn’t become an abstract painter but instead

She was able to create perplexing pieces of work; by adding color shadow and lighting. Her flower paintings had lots of details; some thought that they were erotic.

Judith Sylvia Cohen was born in 1939 in Chicago, Illinois. She showed an interest for art from an early age so her parents enrolled her in art classes. They were very supportive and loving which helped her grow up quite confident. She received both Bachelor (1962) and Master (1964) of Fine Arts degrees at University of California, Los Angeles. Later in life she also received a dozen of honorary doctorates from various universities and colleges. Along with being a professional artist, she was also an experienced educator. She did a series of semester-long residencies at different universities and colleges across the U.S. and was an artist in residence in a couple of them. Apart from teaching and producing art, she managed to write twelve books,

The study of why women artists have systematically been erased from history and why currently the exhibition of women's art is not valued as much as the male artists' continues. There have been many theories behind the eradication of women artists from history. At the beginning of the Women's Liberation Movement, an art historian by the name of Linda Nochlin published an article called, "Why have there been no great women artists?" In here article, she addressed her own question offering one of the first consciously feminist challenges to the established canons of art history. Her query proved to be a rallying cry for women artists in the fervent days of the Women's Liberation movement and offered fragments of a manifesto to women artists, and others, intent on reexamining and ultimately restructuring the discipline (Morse, 1992). Nochlin argues that contemporary feminists contend that there is a different "greatness" between men's art and women's art. This view of art undermines the general discipline. It categorizes its value in order to give it a higher classification among gender. Many women are trying to delve back into history and recapture any trace of artistic women in order to document and arrange their

The sculptress Louise Nevelson was a towering figure of American modernism. Born in 1899, she came to prominence in the late ‘50s, gaining renown for monochromatic structures built out of discarded wood. Critic Arthur C. Danto wrote, “There could be no better word for how Nevelson composed her work than bricolage—a French term that means making do with what is at hand.” (Danto 2007) Her pieces evolved and expanded in size across the latter 20th century, moving from smaller pieces to wall-sized ones, and the plays of volume therein, between light and mass, generated comparisons to numerous different movements.

Louise Bourgeois is an artist provided the keys that opened the door for female artists in the twentieth century. She was born in Paris 1911, and immigrated to New York, New York in 1938 after she married Robert Goldwater a young American art historian (Getlein, 2012), where she lived until her death on May 31, 2010 (Layayo, 2015). The blood of being an artist has flown through her since her conception. She was born into a family that repaired seventeenth and eighteenth century tapestries (Layayo, 2015). Being an artist was her destiny, and her life provided her the tools she needed to achieve her purpose. While growing up in France she attended various schools of art schools that include Ecole du Louvre, Academie des Beaux-Arts, Academie Julian, and Atelver Fernand Leger (Louise Bourgeois, 2001). She continued her study and practice of art when she moved to Ney York in 1938 by becoming a part of the Art Student League (Louise Bourgeois, 2001). Students would stop by her apartment on Sunday to get their art criticized by her, and this

Louise Nevelson constructed sculptures that reflected the essence of feminine character in relation to the essence of the city which has the essence of the masculine architectural structure. Her work being part of the Abstract Expressionist movement, or at least heavily influenced by it, made things challenging for her as a sculptress. Her success in coping with this tension between the masculine and the feminine was overcame through her artistic development that always combined the two gendered appropriations. She often times used materials that had the essence of the feminine while constructing shapes and environmentals that had the essence of the masculine. Although in her later years she changed her medium and style, her glorious years