During my last year of university, my Contemporary Art professor completely changed my views on art history. On the first day of class, she asked us to think about the artists we had studied in depth during the previous three years. How many women could we remember? The answer was simple: not a single one. A few had been mentioned briefly, often as this or that artist’s wife. The next question seemed to follow naturally: Why have there been no great women artists? This was precisely the title of a 1971 ground-breaking essay by Linda Nochlin, then a Professor at Vassar College, where she questioned the whole intellectual structure upon which this inquiry is based.
Yoko Ono, Cut Piece, 1965.
Yoko Ono’s 1965 performance Cut Piece examined in a very simple way the role that the female body has played in art throughout the ages: that of a passive object. In art history, women appear mainly as models or muses. For centuries, the work of those few women that had access to artistic training has been considered to be inferior and secondary compared to that of their masters, fathers, brothers, husbands or lovers. Misleading categories such as “Genius” and “Great Artist”, reserved only for men, have been intrinsic to the discipline of art history for a long time and were not really challenged until the 1960s and 1970s by scholars like Nochlin, who stated that doing so “would reveal the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based”.
The immediate effect of Nochlin’s essay was to increase the interest of scholars in recovering the work of those women that had been forgotten by history. This idea crystallised in the exhibition Women Artists: 1550-1950 organised by the Los Angeles County Museum of Art in 1976, which included works by more than thirty artists from different periods, such as Artemisia Gentileschi, Rosa Bonheur, Gwen John and Lee Krasner.
Judy Chicago, The Dinner Party, 1974–79. Brooklyn Museum of Art, New York. © Donald Woodman.
The flourishing of the feminist movement in the 1960s and 1970s prompted not only art theorists but also artists to re-discover lost role models for women and attack the male-centred version of history that had always passed as legitimate. Perhaps the most important work in this sense was Judy Chicago’s The Dinner Party (1979), an installation where the names of thirty-nine notable women from history (most of which still do not appear in any history textbook) were represented by embroidered textiles and porcelain plates, artistic expressions that have traditionally been considered “women’s work” and have therefore been excluded from the category of “high art”.
Martha Rosler, Semiotics of the Kitchen, 1975. (Watch a clip here).
It is important to remember, however, that not all art produced by women is necessarily feminist or aimed against patriarchy. In opposition to the initiatives that simply sook to lessen the effects of discrimination, such as women-only exhibitions, important voices like that of feminist scholar Griselda Pollock urged for a more political model of feminist interventions. Rescuing the work of women who have been excluded from art history is not enough; in order to undermine patriarchal society, it is necessary to explore and deeply question the social structures that have led to this process of exclusion.
Many female artists have brought awareness to the oppression, marginalization and violence that women have suffered for centuries through their art, particularly after the 1960s. One of the most iconic pieces in this regard is Martha Rosler’s Semiotics of the Kitchen (1975), a video performance in which the artist not only criticised women’s roles within the home, but also the culture of frenetic consumption fostered by capitalism.
Frida Kahlo, My Birth, 1932. Private collection.
The female body, very often the artist’s own body, became a key tool for visually expressing a multiplicity of issues that directly affect the lives of women, such as menstruation, maternity, sexual violence, gender roles, and body image. For me, one of the most interesting examples of this is Frida Kahlo, who in the 1930s depicted her own birth in a way that finds no parallel in the history of art. This unusual image is still shocking today, as is any that deals frankly with female genitalia, often erased by male painters in their idealised depictions of the female body. In the 1970s, artists like Chicago, who insisted on the existence of a distinct “female sensibility”, scandalised audiences and generated controversy in feminist circles with their use of vaginal imagery.
Judy Chicago, Peeling Back, 1974. New Mexico Museum of Art.
Sexual violence against women was (and still is) a very prominent subject in feminist art. One of the projects that first prompted a social dialogue around this important issue was Suzanne Lacy’s Three Weeks in May (1977), a three-week performance that took place in a shopping centre and exposed the amount of rapes reported in Los Angeles during that period of time.
Suzanne Lacy, Three Weeks in May, 1977.
A few years before, Ana Mendieta had addressed sexual violence in a very powerful manner, presenting her own body as that of a rape victim in a performance that took place in the artist’s apartment.
Ana Mendieta, Untitled (Rape Scene), 1973. Estate of Ana Mendieta Collection.
Finally, I want to mention the work of Cindy Sherman. From the beginning of her career she has photographed herself in many different roles and scenarios, reminding the viewer about the important role of stereotypes in modern society. I find her striking images fascinating because they seem to highlight what Judith Butler has called the “performative” character of gender and the instability of identities.
Cindy Sherman, Untitled #479, 1975. © 2012 Cindy Sherman.
Just as there is not just one way of being a woman, there is not only one feminist approach to art. The introduction of feminist perspectives in art history is important because it puts into question the discourse centred on the white, Western, heterosexual male gaze, opening up the discipline to criticism and new points of view.
The development of what has been termed the Feminist Art Movement is greatly indebted to the work of the aforementioned artists. Although most of my examples come from the United States, similar expressions simultaneously appeared in the rest of the world. Still, the question that the feminist collective Guerrilla Girls posed in the 1980s, Do Women Have to be Naked to Get Into the Met. Museum?, is, as their ongoing project shows, still relevant today.
Guerrilla Girls, 2012.
I highly recommend reading Pollock’s recent article “The National Gallery is Erasing Women from the History of Art”. Sadly, in 2016 many museums and cultural institutions are still way behind art theory and practice when it comes to ending discrimination and promoting inclusiveness and diversity.
American art, American Photography, Ana Mendieta, art theory, Cindy Sherman, feminism, feminist art, feminist movement, Frida Kahlo, Griselda Pollock, Guerrilla Girls, installation, Judith Butler, Judy Chicago, Linda Nochlin, Martha Rosler, Painting, performance art, photography, Suzanne Lacy, video art, women artists, Yoko Ono
The Problem of Feminism in Female Art Essay
2249 Words9 Pages
The Problem of Feminism in Female Art 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. The question “Why have there been no great women artists?” has been debated since the 1970’s, when historian Linda Nochlin released her book of a similar name. In the decades that have followed, the number of women pursuing education and…show more content…
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.
The question of “why feminism?” has been presented to a number of female artists who deal with strong constructions of gender in their work. The answer, overwhelmingly, has been the desire to modify stereotypes about women that have prevailed in male-dominated art history. In the 1960’s, women who explored “feminist” issues in their art were criticized, causing mass mobilization and conscious raising as to what, exactly, was the purpose of feminist art (Crowell, 1991). Since that time, women have been trying desperately to overturn the art world and rescind the traditional stereotypes and images that have plagued them. Feminist artists created somewhat of a unified front during that