301 Final

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The use of the Female Body in Visual Art: A Way of Reclaiming What it Means to be a Woman Breanna Miklos Women Studies 301 December 10 th , 2008 Red Flag -Judy Chicago

What Do These Have in Common? ,[object Object]

[object Object],Mona Lisa -Leonardo da Vinci

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Answer: ,[object Object],[object Object],[object Object],[object Object]

Why has there not been any great woman artist of the past? ,[object Object],[object Object],[object Object]

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Feminist Movement of the 1970’s ,[object Object],[object Object],[object Object]

Frida Kahlo ,[object Object]

Georgia O‘Keeffe ,[object Object],Redcanna

Judy Chicago: The Dinner Party ,[object Object]

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The Birthing Project ,[object Object],Birth Tear

Jenny Saville ,[object Object],Plan Self Portrait 1.1

A New Age: Vanessa Tiegs ,[object Object],[object Object]

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INTRODUCTION: FEMINISM AND ART IN THE TWENTIETH CENTURY BY NORMA BROUDE AND MARY D. GARRARD What is feminist art? In the early 1970s, artists, critics, and his torians who were part of the feminist movement believed that, like the women’s movement itself, art made by feminist women represented a radical new beginning, a Part Two in the history of Western culture to complement the largely masculine history that would now become Part One. The goal of feminism, said early spokeswomen, was to change the nature of art itself, to transform culture in sweeping and permanent ways by introduc ing into it the heretofore suppressed perspective of women.1 In the new world order that would follow —Part Three —there would be gender balance in art and culture, and “universality” would represent the experiences and dreams of both females and males. Twenty years later, we may smile at so utopian a vision, hav ing learned that there is no such thing as a singular female perspective; that not all art by women is feminist, not even all art made by women who are feminists; having lived to see the Feminist Art movement of the 1970s contextualized by critics and historians as just another avant-garde movement followed by other movements; and finding ourselves in a period that is chillingly (to feminists) called “postfeminist,” in which self- defined feminist art continues to be made, but in forms that dif fer radically from their 1970s predecessors. How then do we situate the Feminist Art movement on the broader stage, conceptually and historically? Is it merely another phase of avant-garde? Or is it not, rather, to borrow a phrase that has been used to describe the cultural climate of the 1960s, “one of those deep-seated shifts of sensibility that alter the whole terrain”?2 The feminist critic Lucy R. Lippard argued persuasively in 1980 that feminist art was “neither a style nor a movement,” but instead “a value system, a revolutionary strat egy, a way of life,” like Dada and Surrealism and other nonstyles that have “continued to pervade all movements and styles ever since.”3 What was revolutionary in feminist art, Lippard ex plained, was not its forms but its content. Feminist artists’ insistence on prioritizing experience and meaning over form and style was itself a challenge to the modernist valorization of "progress” and style development: “in endlessly different ways,” wrote Lippard, “the best women artists have resisted the tread mill to progress by simply disregarding a history that was not theirs. Thus the agenda of feminist art could not be subsumed into that of modernism, and the very appearance of feminist art as early as 1970 was a distant early warning that modernism, and its theoretical commitment to formal values alone, was des tined to become a finite historical stage, in this case to be replaced by postmodernism. Feminist art and art history helped to initiate postmodern ism in America. We owe to ...

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WHY HAVE THERE BEEN NO GREAT WOMEN ARTISTS?* By Linda Nochlin Linda Nochlin, professor of art history at Vassar College, recently published a major text on realism (Penguin). Her specialty is Courbet and nineteenth century French art, but she has written on a range of subjects from Grunewald to modern art. Why have there been no great women artists? The question is crucial, not merely to women, and not only for social or ethical reasons, but for purely intellectual ones as well. If, as John Stuart Mill so rightly suggested, we tend to accept whatever is as "natural," 1 this is just as true in the realm of academic investigation as it is in our social arrangements: the white Western male viewpoint, uncon- sciously accepted as the viewpoint of the art historian, is proving to be inadequate. At a moment when all disciplines are becoming more self-conscious—more aware of the nature of their presuppositions as exhibited in their own languages and structures—the current uncritical acceptance of "what is" as "natural" may be intellectually fatal. Just as Mill saw male domination as one of many social in- * A shortened version of an essay in the anthology Woman in Sexist Society: Studies in Power and Powerlessness. Edited by Vivian Gornick and Barbara K. Moran. New York: Basic Books, 1971. 2 ART AND SEXUAL POLITICS justices that had to be overcome if a truly just social order were to be created, so we may see the unconscious domination of a white male subjectivity as one among many intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of history. A feminist critique of the discipline of art history is needed which can pierce cultural-ideological limitations, to reveal biases and inadequacies not merely in regard to the question of women artists, but in the formulation of the crucial questions of the discipline as a whole. Thus the so-called woman question, far from being a peripheral subissue, can become a catalyst, a potent intellectual in- strument, probing the most basic and "natural" assumptions, providing a paradigm for other kinds of internal questioning, and providing links with paradigms established by radical approaches in other fields. A simple question like "Why have there been no great women artists?" can, if answered adequately, create a chain reaction, expanding to encompass every accepted assumption of the field, and then outward to embrace history and the social sciences or even psychology and literature, and thereby, from the very outset, to challenge traditional divisions of intellectual inquiry. The assumptions lying behind the question "Why have there been no great women artists?" are varied in range and sophistication. They run from "scientifically" proven demonstrations of the inability of human beings with wombs rather than penises to create anything significant, to relatively open-minded wonderment that women, despite so many years of near equality, have.

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Why Have There Been No Great Women Artists? by Linda Nochlin "Why have there been no great women artists?" The question tolls reproachfully in the background of most discussions of the so-called woman problem. But like so many other so-called questions involved in the feminist "controversy," it falsifies the nature of the issue at the same time that it insidiously supplies its own answer: "There are no great women artists because women are incapable of greatness." The assumptions behind such a question are varied in range and sophistication, running anywhere from "scientifically proven" demonstrations of the inability of human beings with wombs rather than penises to create anything significant, to relatively open minded wonderment that women, despite so many years of near equality and after all, a lot of men have had their disadvantages too have still not achieved anything of exceptional significance in the visual arts. The feminist's first reaction is to swallow the bait, hook, line and sinker, and to attempt to answer the question as it is put: that is, to dig up examples of worthy or insufficiently appreciated women artists throughout history; to rehabilitate rather modest, if interesting and productive careers; to "rediscover" forgotten flower painters or David followers and make out a case for them; to demonstrate that Berthe Morisot was really less dependent upon Manet than one had been led to think-in other words, to engage in the normal activity of the specialist scholar who makes a case for the importance of his very own neglected or minor master. Such attempts, whether undertaken from a feminist point of view, like the ambitious article on women artists which appeared in the 1858 Westminster Review, or more recent scholarly studies on such artists as Angelica Kauffmann and Artemisia Gentileschi, are certainly worth the effort, both in adding to our knowledge of women's achievement and of art history generally. But they do nothing to question the assumptions lying behind the question "Why have there been no great women artists?" On the contrary, by attempting to answer it, they tacitly reinforce its negative implications. Another attempt to answer the question involves shifting the ground slightly and asserting, as some contemporary feminists do, that there is a different kind of "greatness" for women's art than for men's, thereby postulating the existence of a distinctive and recognizable feminine style, different both in its formal and its expressive qualities and based on the special character of women's situation and experience. This, on the surface of it, seems reasonable enough: in general, women's experience and situation in society, and hence as artists, is different from men's, and certainly the art produced by a group of consciously united and purposefully articulate women intent on bodying forth a group consciousness of feminine experience might indeed be stylistically identifiable as feminist, if not feminine, art..

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301 Final

1. The use of the Female Body in Visual Art: A Way of Reclaiming What it Means to be a Woman Breanna Miklos Women Studies 301 December 10 th , 2008 Red Flag -Judy Chicago

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