This project examines the construction of subjectivity in Eleanor Antin’s Carving: A Traditional

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

In 1971, Linda Nochlin issued her article “Why Have There Been No Great Women Artists? This idea of aesthetic genius, says Nochlin, is fiction. Art is rarely produced entirely by the artist for the idea of personal expression. Few identifiers in contemporary art have been as fraught as the term feminist art. What does it mean, who defines it, and how does it relate to past accomplishments of the feminist movement?

The goal for feminist artists all along has been the gender-blind interpretation of art, allowing women equal opportunity for success. Feminists have long cried for museum curators and art collectors to see more than just “male” or “female” in a work. However, politics tend to get in the way, and it may be argued that, by clamoring for equality, women have isolated themselves further, making female art a socially-conscious fad rather than a respectable institution. In Women, Art and Society, Whitney Chadwick elaborates: “Feminist critics remain sensitive to the dangers of confusing tokenism with equal representation” (1990). Fear of such tokenism, and perhaps too much emphasis placed on inequalities, has made feminism somewhat of a “dirty word” to some artists today.

“Hunger” is an article published in 1989 by social justice activist Maggie Helwig. In this article Helwig discusses the stereotypes behind eating disorders, and gives real life examples of the impacts an eating disorder can have on someone. She is able to incorporate many ideas that smoothly flow together to capture the audience’s attention, while also making the audience consider their thoughts and views on eating disorders. She ends the article by giving insightful information as to what it was like for her to suffer from an eating disorder, and why she chose to starve herself for eight years. Helwig uniquely incorporates logos, pathos, and ethos in her writing to completely gain the audience’s attention and influence their opinions on eating disorders.

(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

In the essay, "Hunger," by Maggie Helwig, the author states that eating disorders are a form of protest by women against spiritual starvation brought by extreme consumerism; she does this by tracing the symbol meaning of hunger. One of the attractive features of Helwig's essay is her ability to persuade to her audiences by the use of research and experiences. Helwig's use of language, through definitions and various repetitions, illustrates and reinforces her perspective, therefore sending a powerful message to victims of eating disorders.

On the contrast, Antinous made me feel uncomfortable, upset, and angered because its content contained several naked disproportional women bowing down to a man. Also, I was upset that the artist used so many different elements and techniques to draw attention to the naked women and away from the clothed women in the back of the artwork. Although both of these artworks contain women, one perceives women as subjective, strong powerful heroines who can break free of bondage and lead others to freedom. Meanwhile the other artwork, Antinous, perceives women as sexual objects used for nothing other than bringing pleasure to

Photography was an ideal medium with which to explore the payers of the unconscious mind. Modernist photographers experimented with double exposure and unusual new effects similar to those of visionary Surrealist painters and sculptors. A champion of the technique, Raoul Hausmann, called photomontage “the ‘alienation’ of photography”. By this, he implied that photomontage destroyed the role of photography as a medium of recreating physical reality. But the statement also suggests that by its dependence on fragmentation and dislocation, photomontage offered a visually and conceptually new image of the chaos of an age of war and revolution.

In the writing “The Globalization of Eating Disorders” the author, Susan Bordo strongly uses the pathos appeal to influence the emotions of her audience. This writing speaks in detail about the growing issue of eating disorders, that is not only becoming an international issue; but as well I an issue that now affects young men and women alike. The way that this author uses this specific appeal is in a large part with very personal and relatable dialogue, about the sufferings of young adults that are affected by these issues. The author goes as far as to begin the writing, telling the story of a young girl “never fat to begin with, she’s been on a diet for a couple of weeks and has finally reached her goal weight of 115 at 5 to 4 inches… but in her eyes she still looks dumpy” (639). The author goes on to make a point to this narrative, but just the thought of this girl’s unhappy nature with herself, is enough to captivate the audiences’ emotions. The author uses this type of the pathos appeal throughout the rest of the writing to continue influencing the emotions of her audience, as to make her argument stronger.

I fell in love with methodologies of art history. I felt empowered in that, through my own interpretations, I could attach words and meaning to objects. My study of art history reached a turning point when, in 2012, I took a class entitled Identity in a Post-Identity Art World: Gender, Race, Sexuality, and Trans/Nationality, 1990 to the Present. The course endowed me with another lens with which to examine works and, more importantly, shed light on representations of marginalized identities. As a result, I was introduced to the writings of Judith Butler and Simone de Beauvoir, both seminal theorists who inspired my own analyses. I enjoyed every minute of conducting research and forming arguments to support my claims. Ultimately I was interested in developing my understanding of issues in contemporary art further and sought to accomplish this by engaging with a larger

When visiting an exhibition of art work by artists was organized by Winston Salem State University at the Diggs Gallery. When I reached, the Art Gallery, it packed with students of the university. Clusters of people were inflowing the exhibition halls, their faces were pleased with joy. On the walls, pencil drawings and Jet Magazines were up for presentation. Most of them replicate daily activities and some of them brought us into a world of imagination of how life was in the past. As I sauntered through the exhibition halls, I heard the voice of a public speaker who was telling the guests about the artists and their works. The exhibition offered me precious minutes of moderation and enriched my mind. It brought me back into my pleased and peaceful past.

The film centers on the life of a college dropout who has difficulty seeing why everyone around her is so concerned about her eating habits. While trying to express herself through art, she hopes that her family may understand how their perspective differs immensely from hers. Tugging at not only our heartstrings but also at our minds, “To The Bone” connects with everyone in the audience because they either are going through it or someone they know is. Our eyes are finally opened to the harsh reality of eating disorders and the high stakes as

Employing her essay with key terms like body image, anorexia, and bulimia among other disorders, the essayist has written her piece rife with appeals to pathos to define them; the essay’s introduction carries her readers into a girl’s mind who struggles with her appearance

In Franz Kafka’s short story, “A Hunger Artist”, Kafka introduces an eccentric man known as the Hunger Artist. The Hunger Artist has committed his entire life to the art of fasting, allowing himself to be caged and displayed to the public as if he were a painting (Kafka 198). Despite all the emotional turmoil he endures, he takes a great amount of pride in fasting and believes that he can fast for extremely elongated periods (Kafka 200). Unfortunately, his pride not only causes internal conflicts but also tragically leads to his unfortunate demise (Kafka 205). Through the setting and the character development of the Hunger Artist, Kafka illuminates the dangers of self-pride and depicts pride as harmful and detrimental to one’s existence.

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.