There are great female artists!

AAD 252 Summer 2007
Art and Gender


Why do people still talk about no great women artists?
There is plenty of classical and modern female artists!

Newly forming social and political attitudes, norms, and beliefs constantly change about women and the creative abilities attributed to them, from acceptance and entrance into prestigious public and private schools, to opening public shows, to securing private donors and patrons. To be “lured into looking at something, then being told what it is they’re looking at” (Lee, pg 1) seems the only way a women can get her art viewed, or at least been taken seriously. Marginalized in sexuality, behavior roles, and society, truly great female artists take a back seat to male counter parts, but are nevertheless present and contributing.
To be taken seriously women artists might compete in an uneven playing field, with no prior knowledge of the rules, in harsh conditions, with no recognition of skill, or by being subjected to violence or abuse. Most of my examples include women artists who stepped outside the boundaries, subjected themselves to public ridicule and examination, and possibly opened up a personal or private life than a male counterpart would not be subjected to.
Both male and female contemporaries claim no good female creative personalities exist, but give little recognition to the advances of female artists in the face of adversity. Perpetuating stereotypes and male-dominated belief systems, women them selves buy into the myth of “normative construction” (Perry, pg 14) and overlook female candidates due to social controversy not skill, not “church propaganda” (Horowitz pg 9).
Whether that’s the New Deal and Section’s allowance for certain types of public male oriented art, or art that defines the gender specific behaviors of a culture, in the United States (Melosh, pg 157), or to contemporary Chinese popular artwork displayed in public places, executed and commissioned by women, I will ascertain the existence and history of great female artists and artwork executed by females. I will examine popular artwork created by women depicting, in order, female artists depicting males in female or feminine roles, female artists depicting male-oriented roles or aspirations, and female artists depicting females in powerful female roles.

Female Artists Depicting Males in Female Roles as Vulnerable Objects

Julia Trops work is outstanding in its use of color to define outlines and edges. In some works she uses no black, but darker colors used to represent the color within a dark space. She depicts the male nude as a colorful experience, not as a tawdry use of the human form to incite desire, but to use the male form as a color palate. While Julia uses hue and tone to accentuate line and form, she resists the traditional, albeit classical, use of design to complement her overall use of distinct color and feeling, in a modern Impressionist style.
Harriet Hosmer’s skill at sculpture challenges any artists regardless of gender or sexual role. In The use of Classical Greek and Roman depiction of a traditional setting rivals any of the traditional Salon schools. Although Harriet studied with the best, she was still subject to marginalization due to her sexual role and identity. Often women, while ultimately deserving of artistic accolades, are threatening to the male dominated art world with their skill and devotion.
Finally, Berthe Morisot uses a traditional French Impressionist style to convey a vulnerable father and daughter moment, captured in a sunny garden. This image conveys a peacefully whimsical, colorful, almost endearingly educational depiction of the father-male role. While we do know the artist painted her own husband, this image could represent the newly evolving social depiction of fatherly behavior, or an attentive uncle, brother or family friend. The artist herself enjoyed such interactions, coming from a bourgeois lifestyle, as one able to have the access to time and quality materials, including an indulgent family setting.

Female Artists Depicting Male-Oriented Activities or Goals

Classical artists of any gender have painted what some have called male oriented activities and this category would include images with a male-focused role model, male oriented theme such as work in men’s fields, or depictions of male oriented activities such as running or hunting. Truly, Morisot painted in an Impressionist style, in her coastal work that looks like Boats Under Construction circa 1874. This piece looks as dismal as the water line depicted in the painting. Here, I felt as if the task might be to great, that fixing the boats was too much, that the task was daunting or terrible. I felt a despair of the nature of the sea, the turn of the tide so to speak, in which events beyond our control have a lasting effect on us.
Marietta Tintoretto, accomplished artist and musician, defied the barriers in Baroque artwork of the day. In her painting Old Man With Boy circa Her father allowed her to dress in boy’s clothing, essentially cross-dressing, giving her unprecedented access to the art world. Gender attribution (? Pg 26) led to the success of Marietta. Her sexuality in question, her method questioned, Marietta is another example of a women struggling in an uneven art playing field. Her patrons ranged from the Royalty to the wealthy, yet was not allowed to entertain any hope of expanding her own career outside of her fathers. Her portraits of wealthy patrons garnered her fame in Venice, while being captive in her father’s home. Hers was a sad story that ended in her death, at 30, in childbirth.
Finally, Properzia de’Rossi’s Joseph and Potifer’s Wife, the bas-relief depiction of the age story of the temptation of Joseph. Standing 19 feet in height, this impressive piece of art shows the powerful wife tearing Joseph’s coat. Women have succeeded in producing great art, even if it usurped by men.

Female Artists Depicting Females in Powerful Female Roles

Like many great artists, Gentilesch had her artwork changed to fit common social themes and expectations. In her spiritual The Angel circa 1613, her artwork, maybe originally representing female nudity, was covered by another artist who was male. This so-called pornographic display, painted by a woman, covered up by a man who also engaged in painting so-called pornographic images. The cover up was because a female painted it, not because of the content, and not because of the public’s knowledge of the gender of the person who painted it.
In Judith Slaying Holofernes circa 1612-1613, we see the artist, Gentilesch at 20 or 21 years of age, portraying women asserting herself by literally cutting off her ties to the male dominator, even if it is in conjunction with help from a maidservant. The protagonist methodically cuts her ties with a sure hand. The man suffers little, but it is bloody, and she wins her freedom. She is unafraid and confident in her deed, in that there is no alluring genitals or breasts, no overtly sexual meaning, is striking.
In Jael and Sisera the artist, Gentilesch, again paints a female in a powerful role of life-taker, an expression of another women of power shows us the weapons and continence of the victim, a male abuser or usurper, below the female attacker, with the tool above, in her hand of power, the right hand.

Bibliography

De Rossi, P. (1520) Joseph and Potiphar’s Wife. Accessed on Tuesday, August 14th,
2007 at: http://www.sierra-arts.net/FamItal_Sculptors_ProperziaDeRos.html

Gentileschi, A. (1612-1613) Judith Slaying Holofernes. Accessed on Friday, August
10th, 2007 at: http://www.artemisia-gentileschi.com/judith1.html
(1620) Jael and Sisera. Accessed on Friday, August 10th, 2007 at: http://www.artemisia-gentileschi.com/jael-sisera.html

Higonnet, A. (1993). Myths of Creation: Camille Claudel and Auguste Rodin.
Week Four.

Holzer, J. (accessed 2007) http://www.geocities.com/Paris/Rue/5047/holzerbio.html

Horowitz, F. (1992). More Than You See. Harcourt Brace Jovanovich College Publishers.

Hosmer, H. (1876). The Sleeping Faun. The Cleveland Museum of Art, Cleveland, Ohio.
Accessed on Monday, August 14th, 2007 at: http://www.clevelandart.org/explore/
departmentWork.asp?deptgroup=20&recNo=3

Lee, Sadie. (1996). Lesbian Artist?. OUTLOOKS, Horne. Rutledge, Inc. Week One.

Melosh, B. (1991). Manly Work: Public Art and Masculinity in Depression America.
Gender and Art in American History Since 1890. Smithsonian Institution Press.
Washington, DC. Week Two.

Morisot, B. (1883). Eugene Manet and His Daughter Julie in the Garden.
(1874) Boats Under Construction.

Perry, G. (1999). Introduction: Gender and Art History. Gender and Art. Yale University
Press, Newhaven & London

Tintoretto, M. (1580) Old Man With Boy. Accessed on August 12th, 2007 at:
http://www.lifeinitaly.com/art/women-artist-3.asp

Trops, J. (????). James 66. Colorful Rainbow Male. Accessed on Sunday, August 12th,
2007 at: http://www.rubylane.com/shops/canadianartist/item/james66

Week 4 Responses: Significant Others and Art Partnerships

My personal thoughts have been re-enforced through examination of some good analysis of material provided in class. This week's part one readings, which reflected on art and on relationships, was intriguing. I found the in-depth analysis by the authors, of the subjects, insightful, informational, and thought provoking. Higonett focused on the tumultuous relationship of Claudel and Rodin. Herrara explored the depths of the relationship between Kahlo and Rivera. Katz broke with tradition and examined the relationship between men, society, and sexuality. All of these readings spoke to me on levels of artistic expression and the influences artists experience when confronting society.
I would add to the list the relationship between mentor and student, or father and child. As was seen on the New York feed in week 2, the Guerrilla Girls website, posted a cartoon of the senior Tinteretto and Maria Robusti Tinteretto painting dilemma. Upon further research, the Robusti painting has been attributed to herself, or to her father, as some experts disagree on her authentic signature.
These couples were driven artists, productively so, and have had their art scrutinized for hidden nuances and meanings. Some meanings, as in the White paintings by Rauschenberg, are not so implied as obviously stated, as absent or devoid of expression.
In the case of Kahlo and Rivera, they fed of each other more than the others. These two were not afraid of public ridicule of the artistic impressions this couple made. Often delving into the mystic and unknown, these paintings reminded me of Salvador Dali's melting clock painting. A complete and alien view of the world, so culturally different than my own, is represented by the coiled skin of Kahlo.
Unlike the others, the relationship of Camille and August was consuming, intense, and tragic. I felt as if Rodin used Camille to conquer a slump in mid-life, in order to reach a new peak in his career. Camille on the other hand needed Rodin to accelerate her own career, which in some ways, seems like Rodin inhibited in ways. Her clever touch at sculpture was recognized prior to her involvement to Rodin, yet he eclipses her star with his own.
This example more than the others makes me want to comment on the appropriate, in my opinion, use of teacher-power, and mention ethical behavior. The relationship between student and teacher is protected by a code of ethics in modern education and counseling. Counselors must abide by NOHSE ethical codes. In the Rodin case, I would be professionally concerned with Camille, as a young artist, as a young women, and as a disadvantaged student.
In any case, I enjoyed all the authors, the style was researched well, good themes , exceptionally informative and had a flare of inspiration. I was encouraged to research my own artful tragic story, Tintoretto and Robusti. Shakespeare's Romeo and Juliet is an example of artful tragedy, with which I am familiar, and these stories are tragic in ways that give the artist the flair to share with us those feelings and emotions how ever painful.















Higonett, A. (1993). Myths of creation: Camille Claudel & Auguste Rodin. In Significant Others: Creativity & Intimate Parnership. Chadwick, W & De Courtivron, I., Eds. London: Thames and Husdon, 15--29.


Herrara, H. (1993). Beauty to his beast: Frida Kahlo & Diego Rivera. In Significant Others: Creativity & Intimate Partnership. Chadwick, W & De Courtivron, I., Eds. London: Thames and Husdon, 119-135.


Katz, J. (1993). The art of code: Jasper Johns & Robert Rauschenberg. In Significant Others: Creativity & Intimate Partnership. Chadwick, W & De Courtivron, I., Eds. London: Thames and Husdon, 14--29.

Week 3 Cooper response

Week 3: Cooper Response


Interesting to me right away was the comparison of European style images, in contrast to the public’s sensibilities. In particular, the mention of the association of “product with reality” and the idea of consumerism in art struck me interesting. The idea of using photographs to show realism, naturalism and a “surrogate” world and how this challenges the art world were tantalizing. I long have felt that a male dominated art world excludes a vast number of extremely talented persons who fall outside of the established qualities of art and the artist.
The four ways in which an artist uses images, documentation, ways of seeing, established genres, and integration, seemed to be used by the author to make good examples of the use of the historic photographic images used in painting.
I enjoyed this article because the author made his case, stuck to it, did not need to bring outside propaganda to make his points. The author’s use of the male nude, in photographic images, struck me as a different argument than the female nude articles. In the male nude article the problem was presented, the solution explored, and the conclusion concise. In the female nude articles, the female herself was made example of, not just her continence, but her inner qualities as well.
In the Cooper article, the author made a good case for the historic use and possible preservation of the photographic image as art, in its own right. Although I am against the nude as commercialism, I can appreciate the artistic qualities of a photograph. I appreciated the author directness, and unwillingness to be side tracked from the purpose at hand.
In conclusion I feel as if this article was fair, true to its mission, and presented facts that the author could substantiate. I may not have agreed with everything the author uses, but was interested in his topic, felt as if I was convinced by use of fact, not opinion.

Berger responses

Week 3 Berger Responses

Berger 1: The ideas of surveyed and surveyor are interesting to me because of our societies ideas on body image. The ideas the author speaks of seem to be mostly Western in nature. I do not think that all women are so consumed, either consciously or not, by their outward appearance. Surely a woman who wears a burka cannot be viewed in the same manner as a woman who wears stripper clothes. I am not sure that being appreciated and successful, the core of women (?) can be controlled. Surely influential, a woman’s appearance is of concern for her self, or not if that is her wish, but I do not think that all women operate is if she is being observed at all times. Did some forced immigrant African women in our country’s past concern themselves so much with impressing the white proletariat, as with her personal survival, and that of her families? Was she even afforded such liberties?
“Only a man can make a good joke for its own sake” is a slap in the face of the creative nature of women in my opinion. Are women incapable of such wit? When I tell a joke, I am not constantly surveying the men in the crowd to see if they approve or not. I tell a joke because it is funny or at least I think it is. If it is funny to me, then it may be funny to others, but I do not set a standard for myself according to whether a man approves or not, what ever I do. I have been a single mom for almost 17 years, embodying, and enjoying, both male and female gender roles. If I constantly waited around for male approval, I would still be perpetuating the gender stereotypes embodied in this article.
The examples used of Adam and Eve, and the Garden of Eden, are religious Catholic propaganda to influence women’s internalized images of self, and to control female behavior in the church, and society. If Eve was really concerned with nudity, being only herself and Adam, why cover up with fig leaves? I am sure there is a social or religious significance to fig leaves, but I would have picked a little something that was more comfortable, not necessarily “what looks good”. Now I may be missing the point of the article, but to use the example of the classic nude, just perpetuates the ideas of subjugating women, seems a contradiction to me. Many painters, and artists, are commissioned to work, and must paint to the contractor’s wishes. So the images, and the associated commentary, to me are just more propaganda to re-inforce the establishment’s control of those of the female sex and gender.
Berger 2: Some of these assumptions Berger uses, come from a Euro-traditional, white Christian male dominated society, in which men feel women must be second to, and subservient to, men. Why do so many men use “the nude” as a way to explain why they, men, have used the female form as a control tool. Cannot a women have a certain look without being judged for it? Because I wear makeup, I am playing into the idea of male pleasure and the male dominance? Because I may be pretty, I am over-sexed, or sexual toy only? So if I weigh 220 pds, I could never be sex object, because I’m not the a-typical submissive female. These women were painted this way, intentionally, so they could be used for state propaganda, in the social control of women.
The author himself tells us that these ideas are so deeply embedded in the society that “it still structures the consciousness of many women”, but I challenge him to prove it. The author uses nudes as an example of how men have painted women, but are not allowed to women’s artistic impression of men. The author goes as far as to mention homosexual behavior, as if it was a deviant behavior, although men-on-men sex has been happening since the beginning of time. So to define my place in this world, by the European definition of beauty, the pre-pubescent women, often with no pubic hair, keeps the propaganda of a submissive woman in the home. By painting only women who are young, perky breasts, no pubic hair, and “sexy”, the man has once again asserted himself with the power we give them. The European nude is no different than Playboy. Both were created to subjugate women, for man’s entertainment, to make us into play things, to be used at convenience, to be discarded when no longer useful. A “real” woman has more value, to her self and to her family, than ever before, but only because women are more and more unwilling to be used in this negative manner.
In conclusion the European nude, indeed any nude, is an example of how women have been used and discarded by men for centuries. Society sets up expectations of how women must look, and all those who fall outside of those definitions, cannot be, by the authors definition, an object of desire or fantasy.

Invisible Men: Blacks and Bias in Western Art: By Patricia Failing: my commentary

I purchased this painting, at a sale, from the artist for 20$. I chose to use this image, even though some will call it demeaning, because it was painted by a "white" person. The perpetual and often hidden stereotypes of members of certain populations, even well meaning artists, can in fact harm more than it can do good. This image is called "Jivin" and it is meant to represent a 20-30's era dance. The artist did not have much commentary on the picture she painted, only that she had lived in New Orleans for a while. Even the most well-meaning artist can be perpetuating stereotypes.

Failing quotes Hills as saying "images are shaped by history but pictures shape history too. Images are historical forces in themselves" (Failing, 1995). By perpetuating caricatures, or comical, un-realistic impressions of others, we continue participating in an institutionalized racism, that is both hidden and obvious.

While I agreed with certain authors quoted in the text, one in particular stands out. Failing quotes Gates as saying "the large number and variety of inherently racist images in American culture attests to a particular preoccupation with marginalizing black Americans by flooding the culture with an-Other Negro, a Negro who conformed to the deepest social fears and fantasies of the larger society" (Failing, 1990).

Combating racism involves more than super-ficial attempts at changing thought and behaviors. The author continues to refer to an ethnically diverse population of people, many of whom do not refer to themselves as "black", but as members of a number of different cultures and societies. Some of these labels are chosen, and some are not. To lump all persons who may or may not have a percentage of African-American ancestry, or who may even look "black" but are in fact Cuban, Hispanic, English, or any other nationality, is marginalizing in its self, and to continue to use the word "black" in order to continuously describe an entire population, is insulting. Some members of these populations may in fact be more "white" than "black", and in continuing to use didactic language, we encourage the continuation of 500 years of oppression.

Failing, P. (1990). Invisible Men: Blacks and Bias in Western Art. ARTnews

Art and Gender and Sexuality Gender Quiz

Gender Aptitude Test

Would have been better to pirate a scientifically proven test example. "I might not like it. I might think it's terrible. But if someone who did it, did it to be art, and calls it art, I'll go along with it. Why not?" (

http://cydathria.com/ms_donna/ga_test.html (Kate Bornstein's Gender Aptitude Test).

While I enjoyed this aptitude test, it was a challenge in spots, the first question threw it for me right off the bat. "A real woman?". What's that? I felt ..hrumph... right away, and it kinda tainted my perceptions there on out.

"How do I pee?" Again, I did not pick an answer, I was looking for depends on the situation, but I didn't get the right choice. I pee where I need to. If I'm in a public restroom with no toilet, I stand. If I'm in a public restroom with a toilet I sit. This was not a choice.

Question 4 in flexibility, again did not give an appropriate choice. The choices were two or un-numbered. It seemed as though either way I had to choose a duality or an oppositional example. Media can help us or hurt us in the ways we perceive and define ourselves and others as stated by Julia Wood, on page 283, of her book Gendered Lives. "In general , media continues to present both men and women in stereotypical ways that limit our perceptions of human possibilities" (Wood, 2001). Continued oppression of men's roles, and men who try to redefine the role that men play in the lives of children in this country, are challenged every day. Good men I know have chosen to live and work at home. This opportunity is not lost on them.

The essential sign of gender? That's a trap because we already know there are many, uncountable, gender identifiers, of which can be in any combination, presented in uncountable ways. As with questions seven and eight, these choices we neither good nor bad, just not ones I would have thought up. I mean if we're trying to assess one's specific gender tendencies, give us good choices.

Number nine, is this person assuming I am a big meanie? I wouldn't do any of those things. I would walk up, make some sort of culturally appropriate greeting, shake hands, bow, nod, etc. Then I would introduce myself, brag about some minor or insignificant personal accomplishment. I do Not instantly assume I must commit gender discrimination at the drop of a hat.

Section five Love and Sex. Questions six and seven: Not enough choices. Should have been Pleased as punch. Who cares what someone used to be? Is it not the future that counts, I would be just as happy to fall in love PERIOD! Here it seems we are describing a "role" not a gender. A role is "a set of expected behaviors and the values associated with them (page 55, Wood, 2001). Gender can be explained through expected roles but cannot be exclusively defined this way. Role expectations change with culture. What is defined as "women's work" is in fact expected role defined behavior for male counter parts in other parts of the world.

I felt the questions over all to be stimulating and challenging, but the answers to choose from were, silly, unrealistic, and offensive. My ideas of gender are not so comical and flip. Not that I take gender to seriously, well maybe, but any case, Some of the answers forced me to make a biased choice. Like Section 4 flexibility. Question nine. What gender? Do I care? Am I forced by society to choose a gender. NO i can have a conversation with someone with out every "assigning" gender. I do not have to marginalize some one to that extent to introduce myself, ask for a job, get fired or what ever.

This quiz was probably good for some one who has little or no exposure to gender ideas, but I found it to be some what silly, the choices were not serious enough for me, the author did not give enough thought to the choices we were given.

Wood, J. 2001. Gendered Lives. Wadsworth, Stamford CN.

Introduction

My name is Laura. I am a College of Ed student, in the Family and Human Services program. I am attempting to apply for graduate school at the University of Portland, for the distance learning cohort, starting fall 2008, in Salem, OR.

When I have completed this class I will have finished my 12 credits in the Arts and Letters requirement for the University. I have taken an on-line AAD 250, with Scott Huete. I like the on-line format, it allows me to be at home this semester.

When I am not busy with classes, I am volunteering. I have a 90 hour commitment this semester in a field placement. I have a life long love for civic duties and community service. I have an A.A.S in Community Service from Lane Community College, 2005.

Art is a way of human expression. Our feelings about art mean little to the artist, do they? Art has so many variations and designs and types, that I think it is virtually undefinable. The experience of the art is the feelings we get. Hate, love, or leave it, art is what a person is, undefinable and uninhibited.

Gender also, is a way to express ourselves. Without biology, we are who we present our selves to be. Gender is not concrete, gender is changeable, and gender is multi-faceted.