Women Artists Research Articles

Perception of Women Through Conceptual Metaphor “WOMEN ARE PLANTS”: A Case Study of 20th-Century Vietnamese Literature

Based on the Conceptual Metaphor Theory (CMT), the article elucidates the conceptual metaphor “WOMEN ARE PLANTS” in 20th-century Vietnamese literary works. Through the analysis of low-level metaphors, the study focuses on determining the number and frequency of metaphorical linguistic expressions, hence shedding light on cultures and thinking of the Vietnamese community in a correlation between universality and distinctive characteristics of this ethnic group. Different perspectives on women are also revealed.

Greenberg, The Cold War, and French Existentialism

This paper investigates the development of Abstract Expressionism in 1940-1950s America, focusing on ways it has been constructed as a masculine form of expression. Emerging after the end of WW2 when the American national identity was being re-defined, the art movement became a site for the interplay of multiple socio-political and cultural tensions. The imposition of qualities traditionally associated with masculinity became a key aspect in the reception of the movement, reflecting the interests of multiple institutions. This paper deconstructs the amalgamation of factors that formed the masculine image of Abstract Expressionism. These factors range from the masculinising language of art critics such as Clement Greenberg to America’s Cold War agenda to male artists’ own internalisation of philosophical ideas that projected the movement’s masculine aura. In the last section of my investigation, I will expose the gendered imbalance within Abstract Expressionism by analysing the contrast in the occupation of space by male and female artists in period photographs.

Reading Cisheteronormativity into the Art Historical Archives

Madeleine Lemaire (1845–1928) might appear to be a typical “woman artist” of the Belle Époque, a painter of images of fashionable women, equally popular for her watercolor flowers and her skills as a salon hostess, with biographical sketches of her then and now assuming that if she had sex or romance, it was with men. However, a closer look has also revealed Lemaire to be potentially atypical. Unlike her women colleagues, she exhibited salacious nudes; her work was once described as having “a bit of the mustache”; and she generally dodged discussions of either her gender or her sexuality, even though her social group included those who openly flaunted their own non-conformities. Using archival materials, artworks, and contemporary theory to unpack the possibilities presented by Lemaire’s case, I also explore the gains for art history in reconsidering previously female-identified and straight-seeming artists in more fluid gender and sexual terms. What might we discover if we recognize ourselves as the constructors of a cisheteronormative past, reading into the archives the assumptions that our current culture’s binary norms enforce?

Being and Belonging: 25 Contemporary Women Artists from the Islamic World and Beyond

Being and Belonging: 25 Contemporary Women Artists from the Islamic World and Beyond

The Blindness Series and Experimental Media Art of the 1990s

Abstract At the March 2022 College Art Association’s meeting, a roundtable convened by Liz Kim discussed the topic: Intersectionality and the Video Art of Asian American Women Artists. Kim-Trang T. Tran’s video kore (1994), part of her Blindness Series, was one of the featured works. The Blindness Series, consisting of eight short-format experimental videos, focused on physical blindness and its metaphors to address intersectional issues of race, gender, and sexuality. While the specific topics and approaches of the videos in the series were products of their time, revisiting them today, we can see that contemporary concerns were already reflected in Asian American women artists’ works from the 1990s.

Styling Authenticity in Country Music

Country music has become commercially successful both in the US and worldwide. It is perceived as a genre that values authenticity, which may be reflected in the choice of linguistic features, with (White) Southern American English (SAE) serving as the “default” variety. Given the recent diversification of the genre, the question arises whether the use of SAE features is still considered obligatory as a kind of “supralocal norm”. This study compared the lyrics of 600 highly successful songs by male and female artists from White Southern, Black Southern, and White non-Southern backgrounds. The aim was to test (i) whether morphosyntactic SAE features are used to index authenticity in the sense of having become enregistered for this music genre and (ii) whether non-Southerners engage in the styling of relevant markers. It emerged that non-Southerners use more of these features than their Southern counterparts, providing preliminary evidence for “genre fitting” as a means of indexing authenticity. However, there is only one marker that qualifies as a core Country feature used across all artist groups, namely negative concord. As this item arguably is better categorized as vernacular universal, SAE morphosyntax appears to have largely lost its indexical function in Country, while accent features are still vital to establishing cultural authenticity.

The effect of knee tuck jump training on the results of straight kicks on adolescent female pencak silat martial arts athletes

The effect of knee tuck jump training on the results of straight kicks on adolescent female pencak silat martial arts athletes

Mapping the Discourse of Gender Subordination in the Art World in Indonesia

Instead of hastily trying to throw out a discourse that rarely or has never appeared in related discussions, what then becomes the breath of the analysis in this scientific article is an effort to mapping the position of women's gender subordination and the representation of women artists discourses in the dialogue of a special scope, namely Indonesian art world. The analysis was carried out using three theoretical concepts, namely subordination, symbolic violence and representation in the art world in Indonesia. By conducting a literature study on literature and art events, the results of this scientific research show that: (1) Collective awareness is believed to support the articulation of resistance to gender inequality; (2) This awareness extends to the involvement of male artists as well, but there are other articulation practices that are more reflective in nature, meaning the construction of the gender identity of the female artist; and (3) The condition of gender inequality is also voiced in-depth reflections aimed at erasing the gender dichotomy caused by stereotypes.

Becoming an Active Subject: Women's Art Collective Eco-Artivism for Ecological Sustainability in Indonesia

Becoming an Active Subject: Women's Art Collective Eco-Artivism for Ecological Sustainability in Indonesia

From Gaze to Rebel: A Study of Female Figures in Art History

This paper discusses the evolution of women's portrayal in art, from objectified figures in early history to empowered subjects in modern times. Initially, women were depicted through the male gaze, embodying idealized beauty or fulfilling societal roles. During the Renaissance, this trend continued with artists like Raffaello Santi, who focused on physical beauty but often overlooked real-life women's experiences. The paper then highlights a shift to representing everyday women, as seen in works like Jean Franois Millet's "The Gleaners," yet these portrayals still echoed traditional gender norms. The narrative progresses with the emergence of female artists challenging these conventional depictions. Figures like Kathe Kollwitz and Sylvia Sleigh reversed the male gaze, empowering women as active subjects in art. The paper concludes by emphasizing the transformation in art from objectifying women to portraying them as autonomous and influential, mirroring societal shifts in gender roles and perceptions.

Reminiscence as a Technique for Creating a Work of Art in Creativity of Women Artists of Russia in the Late 19th and Early 20th Centuries

The article is devoted to the formation of female professionalism in artistic creativity, which demonstrates a direct connection with socio-cultural changes in Russia at the turn of the 20th century. The author analyses one of the most important characteristics of women’s artistic creativity — the stylistic features of brushwork based on the combination of the individual and the imitative. It is traced how various artistic infl uences in Russia and Western Europe are manifested in the work of women artists.

Morisot and Cassatt the Exploration of Female Identity in the 19th Century

This paper explores the limitations of church and social influence on women in Europe prior to the 19th century. The author argues that the decline of the domestic economy in the mid-18th century made domestic work more associated with women, leaving most women unable to pursue elite professions such as music, dance, and art. During this period, influenced by the patriarchal social concept, most women did not have the opportunity to pursue these industries, but spent a lot of time and energy in the family, becoming slaves to the family and children. However, the birth of Impressionism reduced the constraints and restrictions of the academic art style and promoted the rise of female artists in the 19th century. This paper will compare the themes, perspectives and self-cognition of the two artists, Berrit Morisot and Mary Cassatt, to show that under the influence of Enlightenment thought, the two artists integrated female identity and family into their painting career, but expressed their different identities.

A qualitative investigation to understand the challenges and representation of women in the media industry of Bangladesh

This study explores the representation of women in the media in Bangladesh and the social perception regarding their media engagement. Both Dhaka and Khulna cities were purposively selected as the study area for fulfilling the research objective. A qualitative research method has been used to conduct the study and primary data were collected by using an in-depth interviews (IDIs) and two focus group discussions (FGDs). Using a convenient sampling technique, a total of fifteen informants, including IDIs with five (5) informants who were media professionals, two FGDs of ten (10) informants (five in each group), were communicated for data collection. The findings revealed that women are represented as a commodity for marketing the product, and their charm or glamour became the main requirement for recruitment. The informants perceived that the lack of professionalism in the media industry ignores women's intellectual value. Moreover, female models are mostly judged by their physical beauty, not by their merit. The findings also revealed the presence of sexual harassment in the media industry. From the consumers perspective, the study revealed that elderly people have a negative perception of women's engagement in the media; however, the younger people adjusted their thoughts to new media portrayal of females as sexual objects but lack respect for the profession. The study significantly recommends measures such as eliminating sexually objectifying roles for female artists, introducing pay protection and social support campaigns to ensure a non-discriminatory media industry and consumer culture.

Dynamics of male makeup artists in Indonesia: navigating entrepreneurship in the middle hegemonic masculinity

PurposeThis paper aims to explore how Indonesian males who are entrepreneurs in make-up artists navigate their businesses in a society that relies on hegemonic masculinity. This goal is reached by concentrating on male make-up artist entrepreneurs in five Indonesian provinces and investigating how they actively rewrite their gender and inherent vocations by societal norms.Design/methodology/approachThis paper adopts a qualitative phenomenological approach with methods. In-depth interviews and observations were conducted with 28 informants in five provinces of Indonesia.FindingsThese findings show that, aside from self-concept, family support is the most crucial determining factor that pushes men make-up artists to become businesses in the face of so many rejections. Persistence in battling for their fate is also critical in efforts to erase themselves, who are constantly subjected to hegemonic masculinity. Aside from that, it appears that the government's role in attempts to promote gender equality in all fields of business in Indonesia remains limited.Originality/valueThis paper contributes to the gender and entrepreneurship literature by providing a broader exploration of male entrepreneurs working in the field of female make-up artists in a society that still adheres to hegemonic masculinity.

Precarity and resistance: Mediating home across contemporary Europe through the short hybrid film

Addressing an increasingly globalised housing crisis, European filmmakers have turned their attention to the precarity of home, generating a vast mediascape of activist documentaries, essay films, shorts, and some features. Adopting a film and urbanism approach, in this article I take a specific focus on the short film form, framing it as a space for experimentation, and offering a snapshot of a wider transnational corpus of media. I compare two 2019 short films by two emerging women artists: British Ayo Akingbade’s Dear Babylon and Portuguese Leonor Teles Dogs Barking at Birds (Cães Que Ladram Aos Pássaros). These artists’ works establish film as a form of resistance while, at the same time, being rooted in an understanding of socio-economic inequality in housing. Purposedly merging observational, participatory methods with the fictional, these two films share a focus on young people in uncertain living conditions. Grappling with their individual situations the youth at the centre of these stories build forms of resistance to their present housing struggles in the attempt to shape a better future for themselves and their community.

Compromise and Challenge: Morisots Mother-Child Paintings in 19th-Century Paris

For Paris, the 19th century is unique and precious. The changing regimes, the establishment of capitalism, and the progression of industrialization reshaped the city's landscape and society. As these changes led people into modern society, new challenges appeared accordingly, and the most significant one was the decline in birth rates. New lifestyles and issues altered people's thinking and focal points. Consequently, transformations in artistic expression emerged. In the vibrant tapestry of 19th-century French art, the new mother-child paintings, born to solve population problems of the industrialization process, witnessed the career paths of female artists and their feminine movements. Female artists like Berthe Morisot used this theme to gain professional recognition in the patriarchal society and to reflect and redefine their complex social roles as women in the transforming society, subtly challenging the conventional gender norms. This paper delves into how societal transformations influenced Berthe Morisot and the theme of her paintings, examining her works as a lens to explore her accomplishments.

A Romani woman in Eurovision: ethnic and gender stereotypes in the reception of Remedios Amaya (1983)

ABSTRACT Remedios Amaya was the first Roma woman to represent Spain at the Eurovision Song Contest. Chosen because of her ethnicity, Amaya’s Romani heritage was meant to commemorate the Samudaripen/Porajmos (Romani Holocaust) in the year Munich hosted Eurovision (1983). Despite efforts to foster an image of modernization and progressive values, the hostile reception that followed her performance being awarded zero points contributed to the perpetuation of various stereotypes of Romani women. Analyzing press reviews of Europe’s most popular music program, my aim is to explore the perceptions of non-Roma commentators with regard to the selection and reception of a Romani singer as Spain’s representative. Looking at reception studies and stardom, this article will analyze the intersection of ethnic and gender stereotypes in relation to a female Roma artist during the early years of Spanish democracy. It will explore the hypersexualization and exoticization of Amaya’s TV performance, which revived the image of the Gitana, a trope that under Franco embodied the image of an idealized Spain. Widely exploited by the tourist industry, Roma culture (or more precisely, the naturalization of certain stereotypes assigned to Gitanos) was blamed for reviving the association with the recent dictatorship, thus displaying the persistence of Spain’s unresolved past and ambivalent cultural identity that still destabilizes Spaniards with regards to their status in Europe.

Winimaku ara papa wiimatjaraku and other stories

AbstractThis audio‐visual essay invites readers to enter a new intermedial archive of documentary paintings and stories by a celebrated and prolific multilingual Central Australian Aboriginal woman artist. Addressing our written text to intimate family and audiences from elsewhere, in multiple voices and modes of address, we offer an opportunity to consider the dynamics of creating, keeping and caring for memory through the affordances of digital co‐creativity. These include what we term ‘painting remix animation’, a form of what co‐author Rosalyn Boko calls mixamilani (‘mixing together’ of different elements). Guided by the artist's vibrant palette and life‐expressive practice, visitors to the article can move and rest amongst a variety of standpoints through which to attune to questions of history, memory, pictorial storytelling, love, friendship and joy. We hope that in this way, everyone can sense the world‐making powers and poetics of colour and understand how our style of slow research towards digital mixamilani creates a new kind of archive for holding paintings carefully, outside of the art commodity market.

Feministyczne i kolektywne artywizmy

The author describes the activities of female artists who co-found independent theater collectives that practice feminist artivism and sisterhood in various ways. Their actions are an active expression of opposition to violations of women’s rights, racism, classism, gender discrimination and top-down identity politics. In each of the cases described, the motivation for artivism is not only violence, but more importantly, the question: what ideas and values do female artists-activists advocate for? The methodological framework for the article is feminist theory (primarily the thought of Sara Ahmed), focusing on the everyday practice of feminism, which includes an awareness of intersectionality, an acknowledgment of one’s own privileges, and a desire to create more ethical and just realities. Key-words: feminism, artivism, feminist movement, Afghan women, Ukrainian women, Roma women

Narrating Self, Depicting the Other

The American philosopher and gender theorist Judith Butler believes that 'our capacity to reflect upon ourselves, to tell the truth about ourselves, is correspondingly limited by what the discourse, the regime, cannot allow into speakability' (Giving an Account of Oneself). This review analyses how Shamissa Hassani (b.1988), the first female graffiti artist of Afghanistan, and Keyvan Shovir (b. 1985), the first postrevolutionary graffiti artist of Iran, manifest Butler’s view of giving an account of oneself. I argue that Hassani and Shovir have used their arts as a means of speakability and self-reflection in the restricted discourses of their home countries. I conclude that art manifests the possibility of self-revelation and reclaiming one’s voice beyond the restricted social discourses or diaspora.