Women Artists Research Articles

Liars, scammers and cheats: con(fident) women and post-authentic femininities on television

ABSTRACT In this paper, we analyze the conjuncture framing the recent rise of media representations of female con artists, looking at two recent examples of the trope on television: Inventing Anna (a fictionalized account of con artist Anna Delvey) and The Dropout (a fictionalized account of Theranos founder Elizabeth Holmes). We situate the new visibility of women who lie, scam and cheat on television within a set of distinct yet interlocking cultural anxieties: about the “believability” of women’s speech in the aftermath of the #MeToo movement; about the capacities for inauthenticity, artifice, and deception inherent to digital media culture; about the con logics of contemporary global capitalism; and about the pernicious role that white women’s believability plays within everyday operations of white supremacy in the United States. Read through this lens, the “post-authentic” con woman becomes legible as an ambivalent backlash text: a parable that warns about what happens when (white) women are taken at face value and allocated the benefit of the doubt. In a contemporary popular feminist context where women have been implored to be confident, self-assured, and self-possessed “girlbosses”, shows like Inventing Anna and The Dropout reposition the con(fident) woman as a figure of necessary cultural suspicion.

Somatotype, anthropometric characteristics, body composition, and global flexibility range in artistic gymnasts and sport hoop athletes.

The objective of the study was to analyze the somatotype, anthropometric characteristics, body composition, and the global flexibility battery test. A total of 48 athletes of both sexes from Women's Artistic Gymnastics, Men's Artistic Gymnastics, and Hoop Sport (mean ± standard deviation, age 12.50 ± 2.67 years, body mass 43.16 ± 11.00 kg, height 150.15 ± 11.91 cm). Anthropometric data were obtained using the ISAK protocol. The somatotype was analyzed using the Heath-Carter method. The results indicate significant differences in fat, bone, and residual mass, as well as in the proportions of endomorphy, mesomorphy, and ectomorphy (p <0.05). The somatocard revealed that most athletes were classified as endomorphic mesomorph or ectomorphic mesomorph, with variations between groups. Positive and negative correlations were identified between the anthropometric variables, somatotype, body composition, and global flexibility. All positions of the global flexibility battery test showed negative correlations with residual mass, indicating that the greater the range of flexibility, the lower the residual mass.

Contextualizing the voice of a female pop artist: Western music and Indian modernity

ABSTRACT Dubbed a ‘fusion pioneer’, Asha Puthli straddled multiple cultural mediums and created an alternative niche for herself as a global performer. By charting her trajectory as a musician, the genres that influenced her, the rise and proliferation of her music in relation to the cultural landscape of India during that period, this paper, which is structured around an interview with her, tries to understand what made her different from her contemporaries. How did her Indian roots supplement her in navigating the global music arena? Did she, as a female performer singing Western music challenge entrenched notions of femininity in India? By situating her as a performer who blurred boundaries and opened avenues of alternative resistance to set cultural patrimonies, her global presence and its impact on the Indian music scene are discussed, contextualising her work in the cultural ecosystem of India as it embraced modernity, inscribing Puthli as a hidden pop icon of the 70s.

Digital post/colonial feminism: Poetics and politics of digital literary activism by Arab women

ABSTRACT This article proposes digital post/colonial feminism as a viable theoretical and conceptual framework to understand and analyse Arab women’s literary resistance to patriarchal and post/colonial powers in light of the new communicational paradigm shift of digitality. It provides an interdisciplinary and contextual engagement with digital literary works to transcend monothematic approaches, considering the role of digital tools and techniques in enabling new forms of feminist literary activism. It is motivated by the absence of a robust theoretical framework that adequately encapsulates Global South women’s digital literary resistance – particularly Arab women – in the broader context of postcolonial feminism. It aspires to fill this gap by tracing Arab women’s literary resistance practices in digitality, arguing that the digital media helps female artists challenge dominant narratives, amplify marginalized voices, and reclaim collective memory. Two digital literary works by Arab women are investigated to capture their new digital aesthetics and tools of resistance.

Now You See Us: Women Artists in Britain, 1520–1920

Now You See Us: Women Artists in Britain, 1520–1920

Gond painting, and their women artiest: journey from tradition to modernity

ABSTRACT The central region of India, home to several tribal groups, is rich in cultural heritage, with the Gond tribe being one of the largest and most renowned for its artistic traditions. Gond painting, in particular, has evolved from wall art to canvas, gaining global recognition. This study examines the transformation of Gond painting, focusing on female Gond artists from Patangarh Mal village in Madhya Pradesh. Through 87 in-depth interviews, 3 case studies, and long-term observations, this research explores the evolution of Gond art, the challenges women face in adapting to technology, navigating markets, and interacting with media, and their current socio-economic status. The findings reveal that while the content of Gond painting has shifted to address contemporary issues, women artists struggle with patriarchal norms, low literacy, and limited mobility. These challenges hinder their professional growth and market engagement, resulting in noticeable disparities compared to male artists.

Cubism in Sweden – from experimental to moderate

In this article, examples of various forms of cubism practiced by Swedish artists are described and analyzed regarding form, content and reception in the field. A certain emphasis is placed on female artists, since there is a need for differencing the narrative of modernism regarding women’s contributions, often disregarded in their own contexts as well as in the writing of art history. Attention has also been paid to changing notions of cubism in the field of art. In the early years of cubism, from the 1910s, a considerable number of Swedish artists experimented enthusiastically with prismatic and other cubist effects in their paintings. Many of them went to Paris, Berlin and Copenhagen to see the new art, and brought new ideas to Sweden. For most of the artists who experimented with different kinds of cubism, it was a temporary activity, although many of them felt they had acquired new insights concerning artistic form. Some of them further developed their findings into new directions of modernist art, such as post-cubism, purism and concrete art. Women artists were active in all of these movements. The art market in Stockholm thrived in the 1910s and 1920s. Several of the art critics and large parts of the art audience had difficulties understanding cubism, and rejected the non-figurative art exhibited at the Stockholm exhibition in 1930. However, most Swedish cubism proved to be of a moderate sort, such as the works by Georg Pauli. On the other hand, Agnes Cleve, Siri Derkert, Gösta Adrian-Nilsson (GAN), and Otto G. Carlsund never ceased to generate bold forms and compositions. Regardless, it took a long time for Swedish art audiences to accept this form of visual art.

Interplay of art and faith in women’s communities: Developing a heightened awareness of research perspectives and evolving methodologies

The Lost and Found: Revising Art Stories in Search of Potential Changes marked the inaugural conference of a collaborative initiative between the University of Wroclaw, Universidade Nova de Lisboa and the Polish Institute for World Art Studies in Warsaw. This unique meeting brought together university researchers and artists, creating a stimulating atmosphere. The collaborative artistic endeavours undertaken aimed to build community and explore alternative knowledge production rooted in affectivity and openness to surprise, rather than an immediate quest for success. The focus was on a shared experience of being together and learning about each other’s roles beyond the conventional boundaries of scholars and artists. At the heart of the conference was the project Residua of Pre-Modern Relations with Art in Selected Contemporary Convents in Lesser Poland and Lower Silesia, supported by the National Science Centre in Warsaw. Although the residues and anachronisms discussed during the meeting did not explicitly refer to religious orders, they provided insights into the significance of faith and the evolving nature of the sacred in contemporary art. The project’s premise challenged the distinction between the religious and the spiritual, emphasizing the roles of community, respect, and care. It was hypothesized that female religious orders maintain these values in relation to the place of art in everyday life. Consequently, if an art historian wishes to study the relationship between women’s art and the sacred in everyday life, they should learn from nuns and female artists, not merely study them.

PhEminist skins of resistance: creative activism as a decolonial tool for the empowerment of young people within the neo-liberal educational setting

ABSTRACT In this article, I discuss the legacy of the art historical trope of the female nude in perpetuating colonial narratives that inform young women’s understanding not only of the idealized female body, but also what is perceived as ‘good’ drawing in the contemporary art classroom. Theoretically informed by phEmaterialism (feminist new materialism and post-humanism in education), I review the skin as a post-human assemblage to diffract heteronormative and raced colonial imaginings of the female skin. I discuss the PhEminist Skins project, a collaboration with six young women artists (the YWAs), where critical engagement with creative methods, such as life drawing, mobilized the agency of the skin and created opportunity for creative activism. I further share how the methods developed by the YWAs instigated the creation of The Centre for Creative Explorations, a creative research centre that explores alternative pedagogical approaches to the decolonial endeavour in secondary education.

Investigation of Features Influencing on the Artworks of African American Female Artists Between 1960s and 2000s

The rich tapestry of cultural diversity is intricately woven by artists who have traversed various cultural landscapes, often producing distinctive artistic expressions. Among these artists, African American female painters stand out with their unmistakable styles and themes, a testament to their unique narrative. To explore the elements that shape the work of these artists in the United States, an extensive review of literature was conducted, distilling the essence of their creative output. The analysis encompasses personal and societal dimensions, unveiling a tapestry of influences including personal experiences, societal encounters, artistic styles, environmental nuances, technological advancements, sources of inspiration, and collaborative relationships. Through meticulous research and surveying, this investigation identified the paramount features that resonate most profoundly with the artistic vision of eight eminent painters. This study highlights the top three as being most influential in their creative journey. Future research endeavors should focus on conducting a more systematic case study of African American artists in order to provide a comprehensive analysis of their features. This will involve finding primary information and reference materials to make a deeper investigation into the influencing features on Africa American female artists between the 1960s and 2000s.

What makes a successful artist?

ABSTRACT This study seeks to identify which factors of an artist’s background and demographic characteristics (age, race, gender, education, location as a child, and family SES) correlate with successful career outcomes (quality of gallery representation, representation in museum exhibitions and collections). Using a sample of 930 artists, created by random sampling from a catalog of represented artists merged with public data on demographic, SES, and educational backgrounds, we conducted a multivariate analysis on differences in artist outcome. Findings suggest a substantial female penalty in gallery representation and museum exhibitions. While an education premium exists, measured by attending top-tier BFA/MFA programs, it does not affect all artists similarly – female artists do not receive gains in the same way that male artists do, while artists from lower SES backgrounds are less likely to attend such programs. We also find that previous cohorts of artists are more established in the modern art world.

Body, Loss, Memory and Healing: Three Emerging Emirati Women Artists

The UAE is rapidly transforming into a global cultural hub with the establishment of prominent institutions such as the Sheikh Zayed National Museum, the Louvre, and the Guggenheim in Abu Dhabi. Sharjah hosts the Exposure International Photo Festival and an art biennale, with a historic district featuring numerous museums and galleries. Dubai is home to Art Dubai, a leading international art fair in the Middle East, and recently hosted the World Expo and COP28. These developments not only highlight the UAE as a dynamic business hub driven by the petroleum and energy sectors but also position it as an attractive destination for arts and culture. Such rapid changes prompt artists to contemplate issues beyond the visible in the progressing world around them. This paper argues that there is a process of internalization of thoughts and feelings occurring within young artists of the region and transfiguration to art due to such built environment alternation within a bourgeoning social and cultural landscape. More specifically, it elucidates the trajectory of the UAE’s artistic development by analysing recent art projects by Aysha Al Dhaheri, Mariam Al Mansoori, and Sara Alqardaeai. The objective is to analyse the conceptual and contextual frameworks and approaches employed by these emerging artists as they navigate ‘intangible places,’ tackling concepts of the body, loss, memory, and healing within the evolving social and cultural landscape of the region.

“The Sun Doesn’t Shine Like in ’85”

Abstract The legacy of Yugoslav music re-emerged in Serbia and in the wider post-Yugoslav cultural space during the 2000s, as the historical distance and growing dissatisfaction with capitalism led artists to reach out to the Yugoslav socialist past. This has taken many directions, from the reigniting of fandom of ex-Yugoslav music stars and the creation of tribute bands, to the renewal of interest in songs from World War ii and the composition of new music echoing Yugoslav memories and re-framing Yugoslav popular songs in the broader field of contemporary artistic practices. Most socio-musical formations and cultural scenes that have been fashioned after the break of Yugoslavia either rearticulated and incorporated particular sound legacies strongly associated with Yugoslav socialism or emulated its ‘ethos’ by contrasting the present with ideas and practices of Socialist Yugoslav society. The author will focus on female performers and authors, as well on the smaller socio-musical and artistic contexts related to the feminist movement. By acknowledging, comparing and interpreting the contributions of female and feminist artists / activists in Serbia who use music as a tools for social critique, the article offers an insight into a complex intersection between gender, ideology, and politics of remembrance ‘after Yugoslavia’.

Japońska fotografia emancypacyjna, czyli kilka słów o twórczości Nagashimy Yurie

The article discusses the issue of depicting the female body in Japanese photography based on the work of Nagashima Yurie. The artist began her career in the nineties of the twentieth century, creating nude self-portraits. In 1996, a well-known Japanese photo critic called her a promoter of the so-called “girl's photography" (jap. onna no ko shashin). However, the term had negative connotations and disregarded the female artists who were referred to by it. Nagashima took up a polemic not only with the academic community, but also with the accepted norms of depicting in photographs. In her work, Nagashima drew attention to the problem of sexualization of the female body in Japanese photography. With the use of parody, she began a polemic with the majority of artists who used women as the main motif in their works. Through her work, she also initiated a public debate on the role of women using audiovisual arts in their activities.

Gender Disparity and Obstacles Faced by Female Musicians in Iran's Music Industry

Iranian female musicians face numerous obstacles that hinder their entry and growth in the music market despite having the potential to flourish. These challenges include limited access to resources, fewer performing opportunities, and societal biases that favor male artists. This study aims to investigate the gender-related challenges that women artists in Iran face, particularly emphasizing the significant inequities that exist for musicians. Combining qualitative data from in-depth interviews and document analysis with quantitative data from structured surveys, the primary study investigates the gender-related challenges that function as barriers to entry and prevent female musicians' active participation and success in Iran's art market. The objective also hopes to offer valuable insights for policymakers and stakeholders regarding the promotion of gender equality and the provision of support for female artists in Iran, especially in the music sector. The research findings articulate four significant barriers to entry to the music market for Iranian female artists: cultural norms, societal pressures, economic concerns, and governmental rules.

In control but uninspired: Displays of artist self‐control undermine perceptions of creativity

AbstractPrevious research highlighted the interpersonal benefits of self‐control in professional contexts: People prefer high self‐control individuals as work or study partners and expect them to perform better than low self‐control individuals. We show that these benefits of self‐control reverse in the artistic domain. Results of one pilot study and five preregistered online experiments (N = 1644) reveal that artists with high (vs. low) self‐control are perceived as less creative. This effect replicates across various artistic domains (visual art, music, poetry, screenwriting), holds for both male and female artists and can be explained by perceptions of lower experiential processing, which is considered indispensable for creativity. However, art created by high (vs. low) self‐control artists is ascribed higher market value due to stronger attributions of productivity. These findings provide novel insights into the social perception of self‐control and contribute to the understudied topic of the downsides of self‐control as well as to the literature on lay theories of creativity.

Translation and gender in contemporary Mapuche dramaturgy

ABSTRACT The theater company Kimvn Teatro, under the leadership of Mapuche playwright and director Paula González Seguel, produces and features documentary dramaturgies performed and written by a collaborative group of mostly female Mapuche artists and non-professional actors. The present study seeks to critically examine multilingualism in the written text of Kimvn Teatro's debut work, Ñi pu tremen - Mis antepasados, from a transnational feminist translation studies approach. This analysis focuses on the intersections of drama translation, female solidarity, feminist politics of authorship, and cultural representation of Mapuche women in the diaspora. The research explores how collaborative authorship and translinguistic strategies disrupt intersecting regimes of patriarchal and colonial power. Furthermore, the significance of translation is examined in terms of addressing the limitations imposed by monolingualism in contemporary Latin American drama. This entails the deterritorialization of Spanish and the affirmation of Mapuche culture and language within the framework of a “minor documentary dramaturgy”.

Gender Wealth Gap in the USA’s Afrobeats Scene

The United States has been a space for global musical transnational encounters among African-descended peoples, with various artists collaborating. These collaborations have blossomed with the advent of Afrobeats—a loose term describing the contemporary transatlantic sound of popular African music. Although there are male and female Afrobeats performers on the African continent, this cultural exchange occurs more often between male artists and U.S. musicians. Because male artists are mostly invited for live performances, their visibility puts them in a position to perform with and collaborate with U.S. artists. As a result, male artists get nominations for global awards such as the Grammys and accumulate more wealth. For female artists, the result is less visibility and wealth. Using Tiwa Savage and Burna Boy—two Afrobeats giants—as case studies, this essay examines the factors that limit Tiwa, a female performer, from achieving the same wealth as her male counterpart, Burna Boy. Specifically, this study analyzes the sonic and semiotic representations in their popular music videos, Tiwa’s “Koroba” and Burna Boy’s “On the Low,” to understand why Burna Boy might have the edge over Tiwa. Their music and career trajectories shed light on how capitalism and sociopolitical issues, including colorism, might contribute to the gender wealth disparities between male and female Afrobeats performers.

:A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760–1830

:<i>A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760–1830</i>

An Analysis of Women Rappers’ Lyrical and Video Performances in Hip Hop Collaborations

Women in Rap often occupy spaces in which they are marginalized or pitted against one another. Yet, recently, more popular women artists are working together, instead of attempting to commodify their rap beefs. With this historic shift in mind, it is critical to take a moment to investigate the collaborations that have occurred in the past, as they are rare. These collaborations allowed a space for women to work alongside other women, when it was not popular or often profitable to do so, and men, who dominated the hip hop music genre and often did not find value in collaborations. Therefore, this study intentionally seeks the elevation of women’s narratives and representations in hip hop culture and academic scholarship by focusing on collaborations and women’s voices within them. It works to add to women’s studies by investigating representations of women rappers in both their lyrics and music videos. The latter of which are ripe with visual message often ignored in scholarship that heavily focuses on lyrics.