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Transcript of GWSS 290
born 1969 Apartheid: 1948-1994
Racial Segregation Indian Descent Appreciation and Passion for Democracy Human Right Issues Alberta, Canada Spent Childhood & College Years criticized for artistic endeavors Fight against violence
Abusive treatment of women Shattered upbringing male dominated home Travels to India Age 30 for 4-month pilgramage Catalyst for renewed art exploration Connecting with Indian culture fears and vulnerabilities for women Moves to Colorado, USA Art Career / Journey Sharing stories of women What is fragile, vulnerable, joyful, and hopeful...
and what it is to be human sorayannulliah.com sorayanulliah.com 1969-Present
Another story told Ana Mendieta
November 1948- September 1985 Born in Havana, Cuba Sent to the U.S at age 12 to escape Fidel Castro's Regime (1960) Fidel Castro Cuban communist, prime minister of Cuba 1959-1976 "Silueta Series" 1973-1980 blending and displacement 1960's & 1970's in the U.S Women's liberation movement Left: Silueta Works in Mexico 1973-78Right: Tree of Life/Silhouettes series 1973-1980 Born in Portland, Oregon, on April 20, 1953 1955:
The Civil Rights Movement
"Ain't Jokin'" photo series LOOKING INTO THE MIRROR, THE BLACK WOMAN ASKED,"MIRROR, MIRROR ON THE WALL, WHO'S THE FINEST OF THEM ALL?"
THE MIRROR SAYS, "SNOW WHITE, YOU BLACK BITCH, AND DON'T YOU FORGET IT!!!" 1990:
"The Kitchen Table Series" 1995-1996:
"From Here I Saw What Happened and I Cried" 2010:
Debut of the "definitive" and
"comprehensive" documentary on feminist art Carrie Mae Weems 1965:
in the arts 1973:
Receives first camera as a gift
Studies design and photography 1980:
Curates exhibition on
women in photography
BFA, California Institute of Arts
Completes first photos series - "Family Pictures and Stories"
MFA, University of California,
San Diego 2011:
Tate Modern Timeline of Art Works that limit the definition of feminist art to a specific time, place, and participants Who is
"Afro Chic" video project Meanwhile, the feminist art movement "begins"... ...And "ends", before Weems has even finished art school. Contemporary artist using photography and video to
explore issues of race and gender 1963:
August - March on Washington where
Martin Luther King delivers his "I have a deam" speech
November - John F. Kennedy is assassinated 1964:
July - The Civil Rights Act
is enacted 1965:
February - Malcom X is assassinated
October - Protests against the Vietnam War begin 1966:
October - The Black Panther Party is founded by
Huey Newton and
Bobby Seale 1968:
April - Martin Luther King
June - Robert F. Kennedy
is assassinated 1954:
Brown v. Board of Education Singapore Performance Art Scene RESPONSE TO
SOCIETY CENSORSHIP Suzann Victor Josef Ng
Controversy Suzann Victor.
"His Mother is a Theater".
Singapore Arts Museum.
Personae 1. 1994. 2 4 5 Artistic Director of 5th Passage Artists Ltd. Singapore Performance Art Funding Ban :50 seconds SINGAPORE Amalia Mesa-Bains Chicano Civil Rights Movement b. 1950 Amalia Mesa-Bains
Venus Envy, Chapter One (First Holy Communion, Moments Before the End), 1991.
(http://www.clas.ufl.edu/users/glue/longman/2/mesa-bains.html) producing a Chicana history
resisting assimilation to dominant hegemonic American/Western culture Romaine Brooks
1874-1970 Wealthy American Parents: -divorced before she was born.
-determined early on to live an independent life; mother did not support her. -inherited fortune, allowing her to live comfortably as an artist-freedom. -Romaine was raised by her mentally ill/abusive mother and her unstable older brother.
- Her mother spent all her time caring for her brother, neglecting Romaine.
-Psychological and physical abuse Left home at age 21 for art school.
-La Scuola Nazionale and the Circolo Artistico in Rome (1898-99); harassed as the only woman at a men's school.
-Academie Colarossi in Paris (1898-99) 1901 her older brother died of kidney failure and shortly after, her mother passed as well -1902 Brooks married a homosexual pianist, John Ellingham Brooks. Less than a year later, divorced.
-Moved to London and began working in her studio on portrait paintings. -Romaine went on to pursue relationships with women, the lengthiest with Natalie Barney; American playwright, poet and novelist who lived as an expatriate in Paris Romaine Brooks “Au bord de la mer”, “At The Seaside”, self-portrait (detail), 1914. At the SAM Romaine Brooks “Una, Lady Troubridge”, 1924. Romaine Brooks “Au bord de la mer”, “At The Seaside”, self-portrait (detail), 1914. -Shows a woman relaxed in mens clothing; more identifieable as a woman who is cross dressing.
-Background is the sea, representing constant movement and change. -Defying societies definitions of what masculinity is, and who and what represent it.
-3 piece suit, detailed trousers, big collar
-Dogs; symbol of wealth, power, "MAN'S best friend. 1900's fashion magazine Visual Culture Image WW1 1914 - fashions response -1917; women begin cutting their hair short -Straight up and down "boyish" look comes into style; flat.
-1920's; legs showing, shorter skirts -Style was cheaper to make and produce. -Women begin doing more outdoor activities, no longer riding side strattele -Acceptable and desirable to have a skin tan- showed you had leisure time and money. -1900-1909 Gibson Girl- powdered pigeon look. "S" Shaped body with padded butt Clothing now allowed more movement for women. Early Years Born in Bhilai, India
Moved to Bombay
She holds a BA in photography from RMIT
and an Exchange Scholar at the Art Institute of Chicago. Tejal Shah Born 1979 Multi Disciplinary Queer Feminist Political Video
Performance Works With ideas of gender and sexuality ideas of normalcy identities social relations disenfranchised peoples knowledge and power Unfurling
2000 Untitled III (video still)
2000 "Women Like Us"/I AM Tate timeline AMAL KENAWY You Will Be Killed, 2006 1974-2012 Wide Range of Media Drawing
Performance Born in Cairo, Egypt "I try to create a visual language accessible to different audiences, a language that transcends the specificities of culture, be it Eastern or Western. I view such a universal language as the absolute means for articulating and discussing emotions as they themselves are universal" Studied film and fashion design at Egypt's Cinema Institute Received a degree in painting in 1999 The Room, 2003 Won the UNESCO Grand Prize at the International Cairo Biennale 1998
Forouhs parents were murdered in Iran 1984
studied art at the
University of Teheran 1962
Born in Teheran Pakistan 1991
Moved to Germany to continue her studies Ashura Butterfly (2010)
from the seven-part series Butterfly.
Digital print on photo paper,
39 3/8 × 39 3/8 in.
RH Gallery, New York Searched for Answers, but no resolution Word map of
Biography Tate's view of
Feminism History Art 2004 2010 2003 Funeral -
site-specific work Swanrider Freitag
(Friday) - photographic work 2003 Art reflects the pain
of her loss Yayoi Kusama (born.1929) World War II: 1930's
During war all art exhibits were banned except for those promoting war propoganda Struggle of artist recognition Yayoi Kusama
1966 Developed OCD at a young age-rough childhood, all she saw was dots. Yayoi Kusama
Infinity Nets (White)
oil on canvas
1959 Yayoi Kusama
1963 Yayoi Kusama
1967 "I tend to think that Kusama's brain is actually closer to what humankind's will look like in the future—colorful, orderly, and full of dots." (Lisa Kataymaya) Yayoi Kusama
2011 How her work is being used today: Louis Vuitton advertisements! Yayoi Kusama for Louis Vuitton
Designboom Shadi ghadirian effect of war on society b. 1974
lives & works
Tehran, Iran tradition vs. modernity Shadi Ghadirian
2008 portrays a striking contrast between
seemingly peaceful environments with an object of violence veil & women's role effect of war on society tradition vs. modernity photography
"it is the fastest art." privacy & censorship Shadi Ghadirian
White Squar #5
2009 Shadi Ghadirian
1998 Shadi Ghadirian
Like EveryDay #8
2000 "women's issues are a delicate subject. Even though, in the course of the last year or so, things have gotten a lot better, and people have been working on women's issues far more than before." - Shadi Ghadirian " History " of Contemporary Art at the Tate Modern: the 1970s: feminist art explodes Feminist art is NOT LIMITED TO just these people, these years, and these places...
WHAT IS MISSING? aisha khalid Birth of Venus, 2001 Khalid's Life and work from 1972 onward 1972 2009 1997 Khalid shows her work at the Venice Biennale with artists from Afghanistan, Iran & Pakistan Khalid Born in Faisalabad, Pakistan Khalid earns a BA in Fine Arts from National College of Arts in Lahore, Pakistan Khalid goes to Amsterdam for Post Grad Training 2001-2003 1999 Khalid's first solo show in Karachi, Pakistan 2009 Khalid's first solo show in London at Corvi-Mora 2009 Khalid publishes her first book on her art - "Name, Class, Subject" transnational geography she lives and works in lahore, pakistan she studied in amsterdam she is represented by a gallery in london she has shown her work in new york, new dehli, hong kong, singapore... political, economic, social, historical, cultural context war on terror, post 9/11 global politics women in islam, the veil, the woman question in pakistan colonialism and freedom partition, india, borders, war, religion, sex, female sexuality, purity, pleasure, penetration tradition and nationalism role of women in the public sphere stereotypes and cultural expectations women and labor rethinking the veil, the body, and identity rethinking the traditional form of miniature painting, patterns, textiles, abstraction role of the women, and the visual arsenal of a nation pattern to follow, 2009 birth of venus, 2001 In the search for
BODIES BRINDA MILLER Born In Mumbai, 1960 Degree in Textile and Design at the pristine and reputed JJ School of Arts in Mumbai, 1979 adopted a job at the design department at a leading textile mill where she spent many an hour in the futile reproduction of the precise floral paisley claustrophobia of the needle and thread to explore the artistic freedom that the canvass had to offer Traveled to New York where she received a degree in Drawing and Painting at the Parsons School of Design, New York City in 1989 At the Parson School all ideas were given a free-ranging space to grow, to establish a new dimension of expression. Besides, the artist's study of textile design at the Sir J. J. School of Art, Mumbai, laid the foundation for her understanding of texture and weave, the warp and woof of the creative loom. EARLY WORKS
(1980-2000) Gallery of Disguises Woven canvass "It is unevenness of life that enchants Brinda - not the perfection of the round circle, but its blurred edges. However, the faces in the glass paintings have yet to break through their frozen skins; their eyes are opening slowly to the world."
Bombay, June 1999 Strips of canvas have literally been woven into rectangular grounds held in wide cut, stylized wood-frames that provide a sculptural grid for extending the compositional space. Brinda invests these works with a delightful spontaneity playing with colour and form with skill and finesse. In these smaller works there is a full flow of experimentation. Impasto is created with unlikely materials like residual acrylic, glass, mirrors, small found materials and fabric imprints which are manipulated into quirky effects. They geometry of sweeping, deep set planes creates the harmony against which nascent form actively reinvents itself spilling onto the painted frames in a flourish of movement.
http://www.brindamiller.com/WOVEN.HTML The KALA GHODA Art Festival She has been with the Kala Ghoda Association almost since its inception since 2000 as Executive Committee member and involved in the beautification of this now famous Art District of Mumbai which hosts the only major multicultural festival in Mumbai "A-MAZING" A COLLABORATION WITH ARZAN KHAMBATTA AT THE KALA GHODA ARTS FESTIVAL 2012 Miller has been Festival Curator of the Kala Ghoda Arts Festival since 2007 and has been a protagonist in bringing this festival to it present popularity. MURAL AT KALA GHODA IN COLLABORATION WITH 10 ARTISTS 14 solo exhibitions since 1982
around the country JanuaryAugustAprilJanuarySeptemberMayDecemberAugustAugustMarchOctoberNovemberNovember February 1982
2011 Urja Art GalleryTaj Art GalleryTaj Art GalleryGrindlays BankShridharani GalleryTaj Art GalleryTaj Art GalleryJehangir Art GalleryJehangir Art GalleryJehangir Art GalleryMuseum GalleryVisual Arts GalleryMuseum GalleryTao Art Gallery BarodaMumbaiMumbaiMumbaiNew DelhiMumbaiMumbaiMumbaiMumbaiMumbaiMumbaiNew DelhiMumbaiMumbai At present, Brinda is the Hon. Chairperson of The Artists' Centre, Mumbai and has already brought about changes and has many plans for this small institution. She is also the AVID Program Director for the Arts.
She lives in Mumbai with her husband Alfaz Miller who has re-planned and refurbished the Chhatrapati Shivaji International Airport, Sahar, Mumbai. Together, they have displayed art at the airport by well known contemporary artists of India. RECENT WORKS Exhibitions Collaborative works Always conceptual in her language, Brinda straddles the world of figuration and abstraction. There is no pure figuration or abstraction but an ephemeral play of the two languages, which merge, fuse, diffuse, creating textures, tones and forms which tease the viewer into a magnetic field. At once poetic and lyrical the work is always complex and layered, gently nudging the viewer into a cerebral mode embedded in the experimental. A gentle elegance is stirred into her artwork which evokes an immediate response.
- Dr. Alka Pande
- Autumn 2005 Solstice and Equinox, 2005
paradigm shift, 2011 Over the years Brinda miller has been involved in several collaborative brojects including but nt limited to 'Dream Catcher' with Sunil Padwal and Khambatta, 'Scrapture' at the Kala Ghoda Art Festival and the beatification of several Police Stations in the Mumbai Art District. "DREAM CATCHER" IN COLLABORATION WITH SUNIL PADWAL AND ARZAN KHAMBATTA AT CST AND PHOENIX, MILLS, MUMBAI, AN INDO FRENCH VENTURE - 2012
COLOBA POLICE CHOWKY AT FASHION STREET, MUMBAI (Lucy Renee Mathilde Schwob) Claude Cahun Born in Nantes, France, 1894
Worked from 1912-1930's
Photographer, writer, sculpter, collage artist
Female partner and step-sister: Marcel Moore
Her sexuality was perplexing, some literature refers to her as man
Work explored issues of sexuality and gender First female artist of the 20th century to take photos of self Explored multiple identities
male, female as both masculine and feminine
new sexualities Presents herself as a subject to be explored
presentation as sexual being
politics of being female, lesbian, jewish artist Activism WWII fall of France 1940
Worked with Marcel Moore as resistance workers and propagandists
Anti-German fliers distributed by them at German military events Flier distribution as art “Feminism,” Timeline of Modern and Contemporary Art, Tate Modern, London, 2012, Kimsooja (b.1957) 1983: Started working with needles "A One-Word Name
Is An Anarchist's
Name" 1961: Coup d'tat, beginning of military regime
by Junghee Park 1980: Gwangju pro-democracy movement erupted "Sewing Into WalkingDedicated to the Victims of Gwangju," 1995
Installation at The 1st Gwangju Biennale, Korea
Used bed clothes and used clothes telling stories of the weak and the powerless a needle and sewing as a symbol for connecting people
from different cultural contexts A Needle Woman, 1999 - 2001, 8 channel video projection, 6:33 loop, silent Childhood, nomadism, and bottari Mumbai: A Laundry Field
C-Print, Edition of 8 + 2 APs
35" x 28-6/16"
Produced by the artist
2008 Bottari with the Artist, 1994, used Korean clothes and bedcovers, Yang Dong village, Korea. Photo by Ju Myung Duk Hannah Hoch
1889-1978 The Dada Movement
1916 Hannah Hoch was a
member of the Dada Movement
that started in 1916. This was an artistic and literary movement that arose as a reaction to World War I. Hannah Hoch's Art Work Hannah Hoch,
Dompteuse (Tamer), 1930 Hoch experimented through putting together paintings, collages, photography and graphics. Her style later became known as photomontage. Ryoko Suzuki born 1970 in Hokkaido, Japan
Education Background info B 1985: Japan Society still male dominated society INSPIRATION: Law for Equal Employment Opportunity of Men and Women passed but 2 decades later not much has changed Mature into Womanhood: Art reflects her transition & new awareness of her OWN FEMALE SEXUALITY
Depicted in "BIND" series Bind, 2001. Lambda print. Tokyo Metropolitan Museum of Photography.
(Photo: Courtesy of Zeit-Foto Salon, Tokyo) Portrayal & Perception of Women “pretty girl characters” from Japanese animation market. concept was derived from "AIKORA” which combines the face of a celebrity with a woman’s body.
Challenges cultural norms of masculine sexual drive of women... women no longer these passive/submissive beings but are taking control of their sexual desire http://cks-artport.blogspot.com/2012/10/ryoko-suzuki.html#!/2012/10/ryoko-suzuki.html Women's role in Japanese family system
women now head of household...Gender Roles reversed
"Mama Doll" series Image from Ryoko Suzuki's own website Challenging society and their portrayal of beauty & obsession with youth (Harajuku)
Self Portraits depicting woman on a man's body confronts current perception of beauty in women. Conclusion:
Ryoko Suzuki's contribution to the art world
Sum up with how Suzuki shifts my own understanding of feminism and art Japan was ranked 41st by the United Nations Development Program in terms of the Gender Empowerment Measure in the year 2000. Artist Statement: Being“cute”is the most important value for Japanese young women. But aren’t they losing themselves and their own identities and personalities by trying to become objects of masculine society’s desire for“cuteness”? “Birthrates are declining because of a lack of equality for women 2007-2012
Women have difficult time being both a mother and involved in the worforce. Shift in attitude must evoke change! 1975 Chen Lingyang is Born 12 Flower Months 1999-2000 Tate Modern Timeline Attended High School of National Academy of Fine Arts, Hangzhou, China
1991-1995 Central Academy of Fine Arts, Beijing, China
1995-1999 Chen Lingyang spends a year out of work and feels the passage of time, leading to: Li Xiaojiang's Progress of Mankind and Women's Liberation is written
1983 Cultural Revolution
1966-1976 Tiananmen Square Protests
1989 25:00 2002 Simryn Gill Tate Modern Timeline Migration Singapore Malaysia England India Australia (Her work has been explained biographically) "Washed Up" (1995) Washed up is a collection of beach-debris-like glass fragments with words such as 'war' or 'nervous' telling the tale of our life histories in various parts of the world. Each word brings to mind complex images, fragments of our mind interacting with fragments of glass and words, pointing out that we are washed up as viewers. Our perspectives are shaped and morphed like these fragments, like these words, these concepts. Scale "At what moment as we pull away from the photograph does a tree or cluster of trees become a 'forest' for us? 'Forest' 1996 Space " “Taking up the word ‘forest’ in other words involves entering a space of
splitting linguistic paths and an ambiguous colonial history/ What does it mean to inhabit the space of this linguistic turn or error? (Chua 9). Economic and social turbulence in Asia in late 1990's the financial insanity of the 1990's in Asia reminds us that Nature runs it's course. Additionally, Asian art of the 1990's was packaged for global consumption. fragments 'Art' then can be seen as a fragment of remains after the capital. http://www.louisvuitton.com/front/#/eng_US/Collections/Women/Yayoi-Kusama/stories/The-Louis-Vuitton-and-Yayoi-Kusama-Collection Use link above to purchase your very own Kusuma piece. "Cover Yourself
Dots" Yayoi! Kusama entered the world on March, 2nd 1929 in Matsumoto, Nagano, Japan. At the age of ten she was in some ways born again, into the world art as she began painting in dots and nets that would later become iconic. Fast forwarding to her current career for the moment one will see just how iconic and influential Kusama has become in journey as an artist. Kusama not only has current retrospectives at the SAM and Whitney, but is collaborating with Marc Jacobs and Louis Vuitton promoting an original fashion line dedicated to her aesthetic. Yayoi Kusuma TREND ALERT!! WHO WORE IT
BEST?!?! HP: The clothing (or lack thereof) you created in your happenings were sort of anti-fashion. Which leads us to ask: What lead you to collaborate with Louis Vuitton? Do you see any discord between your old and new fashion explorations?
YK: At first Mr. Marc Jacobs is a big fan of my works, and he offered me the collaboration with Louis Vuitton. I willingly accepted the offer because he is a genius designer with wonderful creativity. Basically my idea and explorations on fashion have not changed, however I believe I’m going state-of-the-art on fashion. Kusuma as an artist is a true evolutionary, and much like her art is always is in a state of emergence. It is interesting to look critically at her past body of work as one try's to interpret her choice to allow her style to become a brand. Kusuma came into her own as an artist by using her art as theraputic relief from her conservative Japanese upbringing and possible mental illness. Once she moved to New York 1957 she showed her and was well recieved in the western avant-garde scene. Kusuma work often explored using her own body as a medium with feminist critique of the implications of the stereotypes concerning race and gender. Her new exploration in fashion then seems a surprising choice based the stigmas revolving around fashion's tendency to objectify the female body. Yayoi comments on the contradiction in interview with the Huffington Post. In the career of an artist as they become more popular it is difficult at times to
distinguish between creative growth and "selling out". In exploring the contradictions between her past and current philosophies of Kusuma's work something will be revealed about the interpretative and indeterminate nature of the art and the artists role. For Kusuma, her particular contribution to the conversation adds layers of criticism that include transnational and global perspectives to the reception and interpretation of non western art. Bharti Kher Born in London, UK Moved 1992 1969 Parents Migrate to England to Dehli, India Attended Newcastle Polytechnic Earned B.A. in fine art painting Establishes permanent residency 1995 Bindis A motif that remains central to Kher's art, bindis are used to adorn an array of different objects. Eliciting questions of race, sex, consumption of culture, and social hierarchy. begins work with Sources http://www.wallpaper.com/art/bharti-kher-exhibition-at-hauser-wirth-new-york/5680 http://www.seditionart.com/bharti_kher Hybrid A common theme throughout her work, Kher takes this concept and creates visual contradictions. This encourages discussion about the creation of identity. Arione, 2004Mixed media Arione's Sister, 2006
Mixed media http://www.saatchi-gallery.co.uk/artists/bharti_kher.htm choleric, phlegmatic, melancholy,
sanguine, 2009-2010Bronze The skin speaks a language not its own, 2006
Fiberglass, bindis indra's net mirror 2, 2010Bindis on mirror, wooden frame indra's net mirror 1, 2010
Bindis on mirror, wooden frame Crafting Mythologies Much of Kher's art is about Through the development and application of new meaning to objects, Kher's work is allegorical. It analyzes traditions and societal associations with objects. An Absence Of Assignable Cause, 2007Bindis on fibreglass http://www.hauserwirth.com/artists/17/bharti-kher/images-clips/ Tate Modern timeline Sigalit Landau
Papier-mâché and mixed media 1970s Sigalit Landau Born in 1969 Jerusalem, Israel 1997 47th International
Venice Biennale 1995 Bezalel Academy of Art and Design
Jerusalem, 1990-1995 Cooper Union School of Art and Design
New York, 1993 Mother born
Viennese refugee parents Father born
Romania, 1940 1974
lived in Philidelphia 1978
Lived in London Present
Lives and works in
Tel Aviv, Israel Black Sea
Salt art Theme bilingual and
multicultural Israeli-Palestinian conflict Violence 1920- Present Art- connecting different worlds Art: Decay, violence, corpses, and salt-
social, humanitarian, and ecological issues Tejal Shah Global Feminisms installation, video, photography, sound Gender Violence what are you? Women Like Us questioning lines in India that define gender, femininity, masculinity. Photographs, 2010 Waiting I & II Born in Bhilai, India
Lives in Bombay Feed/Kill Untitled Works Relationships I have this sinking feeling… Neon, perspex, wood, 2011 video installation, 2010 2010, multimedia b. 1979 Photographs, 2007 pan yulIang From an Orphan to a Master Pan Yuliang's Self-portrait Painting
(Photo Source: Beijing's Capital Museum) •1895 Born in Yangzhou
•1909 Sold to a brothel in Wuhui
•1913 Married Pan Zanhua and moved to Shanghai
•1918-1921 studied at Shanghai School of Art and Painting
•1921 -1925 studied at École Nationale Supérieure des Beaux-Arts in Paris
•1925 Studied at National Institute of Fine Arts in Rome
•1928-1937 Back in China -working and teaching in Shanghai and Nanjing
•1937 Returned to Paris – had numerous exhibitions in Europe and USA
•1977 Died at the age of 82 In 1925, Yuliang went back to China and was employed as a professor in Shanghai Art College. In this year, there was a feminist movement in Taiwan. However, the Chinese conservative society did not change for this movement. In 1930s, there was turbulence in China: the government was not steady and Japan's invasion still existed. The turbulence brought interruption onto the expense for overseas students. Pan Yuliang got a chance to go back to China because of her choice. At the duration of being a professor in Shanghai Art College, Pan Yuliang composed this work. And there was a story about this painting. It happened between Pan Yuliang and her husband's first wife. Young Lady and Flowers,Pan Yuliang, 54x38cm,1933 After Yuliang went back to Paris, her husband prevented her coming back to China. This painting was composed at Yuliang's late age. Ge Wu Yan Sheng,
Pan Yuliang Frida Kahlo 1907 or 1910? A Revolutionary Artist born amidst Political Chaos in her homeland; born in the year of its own bloody rebirth...give or take a couple years. Self-Portraits..55 to be exact Salma Hayek and Jennifer Lopez September 17, 1925 the Suffering Begins "The Broken Column" "The Little Dear" "The Two Fridas" Diego Rivera Unintentional Surrealist Mexican Revolution "I never painted dreams. I painted my own reality." Marriage Divorce Marriage Influental Artist Near Death Experience Untimely Death July 13, 1954 Neomexicanismo in the 1980's shed New light on Old Works Race Identity Controversy Tate Modern Timeline First Encounter with Feminism and Art, Highschool Age Miranda July, Born February 15th 1974
Barre, Vermont, USA "Using a black marker, I made a poster. I went into the library and Xeroxed it, and then, while everyone was in class, I taped it up all over the school. Then I sat and waited. The bell rang; all the kids burst out of their classrooms and toward their lockers. Then they saw the posters. I held my breath and watched them read:"
-Miranda July "Hands Off: My first Feminist Action" http://rookiemag.com/2011/09/hands-off/ As a result: July began to develop an interest in trends and reactions surrounding sexism, harassment and queer identities July writes and performs her first plays at Berkeley's legendary all-ages club, 924 Gilman Attends UC Santa Cruz for 2 years Moves to Portland Oregon, Begins her work as a performance artist 1996: "Joanie4Jackie" A project developed by July, originally called Miss Big Moviola July solicited short films from women, which were compiled onto video tapes and distributed in a chain letter format The varied nature of these compiltions have resulted in 13 different editions of the "Joanie4Jackie" piece, which are often screened at film festivals and DIY events http://archive.joanie4jackie.com/ Jackie4Joanie Description First Encounter with Feminism and Art, Highschool Age Miranda July, Born February 15th 1974
Barre, Vermont, USA "Using a black marker, I made a poster. I went into the library and Xeroxed it, and then, while everyone was in class, I taped it up all over the school. Then I sat and waited. The bell rang; all the kids burst out of their classrooms and toward their lockers. Then they saw the posters. I held my breath and watched them read:"
-Miranda July "Hands Off: My first Feminist Action" http://rookiemag.com/2011/09/hands-off/ As a result: July began to develop an interest in trends and reactions surrounding sexism, harassment and queer identities July writes and performs her first plays at Berkeley's legendary all-ages club, 924 Gilman Attends UC Santa Cruz for 2 years Moves to Portland Oregon, Begins her work as a performance artist 1996: "Joanie4Jackie" A project developed by July, originally called Miss Big Moviola July solicited short films from women, which were compiled onto video tapes and distributed in a chain letter format The varied nature of these compiltions have resulted in 13 different editions of the "Joanie4Jackie" piece, which are often screened at film festivals and DIY events http://archive.joanie4jackie.com/ Jackie4Joanie Description 1996: July releases her first EP "Margie Ruskie Stops Time" for Kill Rock Stars 1997: July releases the full-length LP "10 Million Hours A Mile" 1998: July releases a second full-length LP "Binet-Simon Test" 1998: "Love Diamond" July releases her first multimedia performance piece, titled "Love Diamond" According to mirandajuly.com the piece consists of 2 acts: "The first act revolves around a girl and her mother. The girl is either sick or pretending to be; the mother is either human or pretending to be. The second act tells the story of a woman on an airplane who is circling an entity called “The Titan” – a planet, a monster, a hopelessly sad man who is following her. A chorus of audience members perforate the second act with tales of the illusive, perfect “Love Diamond.” The performance combines slide and video imagery, all controlled by July while she performs. This was July’s first collaboration with composer Zac Love." Stills from "Love Diamond" 2000: The Swan Tool July begins to develop her second major performance piece in 2000, titled "The Swan Tool" A combination of video, music, live performance and helium, "The Swan Tool" tells the story of a woman who cannot decide whether to live or die. Stills from "A Swan Tool" Dreamlike and playful, "The Swan Tool" is indicative of the nature of much of July's work. Her examination of serious topics such as suicide is juxtaposed by the lighthearted way in which July performs. The disconnected nature of "The Swan Tool" allows for many double-entendres and multiple interpretations 2005: Me, You And Everybody We Know July's first feature length film Tells the whimsical and awkward story of Christine Jeperson (July) who uses her art and fantastical imagination to change the mundane and draw people closer to her Stills from Me, You and Everyone We Know 2007: "Noone Belongs here More than You" July's first full length book. Consists of short stories, many of which had been previously published in magazines and online publications http://noonebelongsheremorethanyou.com/ 2010: "Eleven Heavy Things" A series of 11 sculptures in New York City's Union Square Park Interactive nature blurs the division between participant, audience, artist and subject 2011-Present:"It Chooses you" A blend of photography, interview, humor and narrative, July's most recent book is inspired by her interest in "PennySaver" magazine and the classfied ads contained within. "It Chooses You" acted as inspiration for July's second film, "The Future" A new input in feminist art:
psychedelic colors. repetition and pattern. A precursor of the pop art. minimalistic. feminist expressions.
Rebuilding of gender roles. tate modern timeline Yayoi Kusama 1929- Japanese modernity:
1930s Economic Depression and Rise of Fascism.
Postwar Japan and American influence.
1946: Association of Women Painters established Why feminist art? Strong feminist signals
Her art disrupts traditional female art
Uses her body as a way to express her sexuality Rebuilding of gender roles
Non-western female artist Discussion: Why are Kusama not included on the tate modern timeline?
In what ways did she break the traditional conventions of art done by women? Tate Modern Timeline:Feminism Maria Eléna Vieira da Silva Born in Lisbon, Portugal June 13th, 1908
Began painting at age 11- sculpting just after
Attended the “Academia de Belas-Artes” in Lisbon
Moved to Paris in 1928 to study painting attended “Académie Ranson"
Vieira married the Hungarian painter Arpad Szenès in 1930
First exhibition in 1933
In 1939, just prior to the outbreak of World War Two, her and her husband fled to Portugal, and then Brazil.
Vieira da Silva also participated in various exhibitions in Brazil. In 1947, they returned to Paris, and in 1956, Maria Eléna Vieira became a French citizen. LIFE TIMELINE Style some art 1908-1992 “Rouen”
Oil on canvas
1963 “The Invisible Stroller”
Oil on canvas
1951 Mosaic-style and networked lines
In the early phase of her career she produced surrealist paintings
More abstract works in her work in the 1940s and 1950s
In addition to paintings she uses print, tapestry, ceramic tiles, and glass windows. *Source:http://weeklyartist.tumblr.com/tagged/Maria+Elena+Vieira+da+Silva/page/2 *Source:http://weeklyartist.tumblr.com/tagged/Maria+Elena+Vieira+da+Silva/page/2 Egle Rakauskaite 1994
Artist Begins Career 1967 1993 1994 1960-70s
Global Political Events/Developments: Political Events in Europe (1950s-1990s):New European Relations "Rakauskaite's work [is] "conceptually pure and clean" while also 'emotionally very impressive.'" It is a paradox "emerging from the use of 'non-traditional' materials which 'provoke some unusual, puzzling sensations'. And yet, the works evoke a private human experience, a sense of intimacy."-Judith Staines
<http://www.culturebase.net/artist.php?329> 1998 Purity and Sensuality Tansnational
Fellowships in USA 2000 Residency at
Akademie Schloss Solitude
in Stuttgart, De 1999 In the early years of her career, she made objects out of unconventional and perishable materials such as chocolate, jasmine flowers, human hair, honey and fat. As she states, "these materials were used to protest against paint and canvas. Many critics attributed this interest in unconventional materials and also some of the images I constructed to my interest in feminist art. However, I think that at present the differences between male and female creation are not that visible any more. It is important that the art work opens itself to the consciousness and sub-consciousness of the viewer" Artist Born Graduates from
Vilnius Academy of Arts 2003 Chocolate Crucifixes (1996)
Height: 43cm, various numbers
(http://www.culturebase.net/artist.php?329#) * Group of writers and intellectuals sets up Lithuanian Movement for Reconstruction (Sajudis). Its leaders declare at a mass rally in the capital, Vilnius, that the USSR occupied Lithuania illegally (1988)
* Lithuania, Latvia, Estonia Gain Independence from Soviet Military (1990-1991)
* Feelings/Ideas of National Fervor and Solidarity Flourish (1980s-90s) (http://www.mnac.ro/jaan_toomik.pdf)
(http://news.bbc.co.uk/2/hi/europe/country_profiles/2133386.stm) 1991 The January Events 1991:
* Soviet Union Falls March 1990
* TV Tower Massacre January 11, 1991
* Lithuania Gains Independents & starts
rebuilding National Identity
* Lithuania Joins United Nations (http://news.bbc.co.uk/onthisday/hi/dates/stories/january/13/newsid_4059000/4059959.stm) Return to Nation-State
coincides with return of
Patriarchal Values and
Standard Gender Roles... ...led to a Total Denial of
Gender Identification (http://www.artandresearch.org.uk/v2n1/zukauskaite.html) Exploration of the Human body, Gender Identity, Imagination and Alternative Realities (http://www.culturebase.net/artist.php?329#) Initially Trained in Painting
Current Mediums: Photography
Video Egle Rakauskaite (http://www.cac.lt/en/exhibitions/past/02/1515) --Struggle for Freedom of Artistic Expression (1960s-1991)
--Formalist Art Forms (80s-90s)
--National Identity (80s)
Films Reflect Lithuanian Culture/History: Art: Film + Culture (http://mubi.com/lists/lithuanian-cinema-in-1960-1990)
"Art of the Baltics" "MAŽASIS PRINCAS"
THE LITTLE PRINCE (1966)
by Arnas Žebrinas
Based on the story by Antoine de Saint-Exupery --French Influence
--Example of Transnational flow of Ideas "NIEKAS NENORJO MIRTI"
NO ONE WANTED TO DIE (1965)
by Vytautas Žalakeviius --aroused the greatest general response during all the period of Lithuanian cinema history
--The film shows a post-war Lithuanian village, bloody collision between the left-wing forces, represented by brothers and the still existing resistance "KAKAS ATSITIKO"
SOMETHING HAS HAPPENED (1986)
by Artras Pozdniakovas Themes Include:
--sense of Unity between characters
--festivals celebrating new start
--Mimicry of the old generation that had thrived under the Soviet regime is contrasted with open emotions of young people Works Cited * "The Baltic Times: Contemporary Art from Estonia, Latvia and Lithuania."Galerie Im Taxispalais. The Baltic Times. Germany April-May 2002. <http://www.galerieimtaxispalais.at/archiv_1999-2008/ausstellungen/baltic/baltic_rundgang04.htm>.
* "A Timeline of the EU". BBC News. March 2007. <http://news.bbc.co.uk/2/hi/europe/3583801.stm>.
* "1991: Bloodshed at Lithuanian TV station." BBC News January 1991 <http://news.bbc.co.uk/onthisday/hi/dates/stories/january/13/newsid_4059000/4059959.stm>.
*Soans, Hanno; Härm, Anders. "We Are Glad It’s All Over." Presence Balte: The Human Project. Baltic Art Centre. <http://www.mnac.ro/jaan_toomik.pdf>.
* Staines, Judith. "Purity and Sensuality." Egle Rakauskaite: Artist Profile. Visiting Arts. May 2003. <http://www.culturebase.net/artist.php?329#>.
* Voorhees Zimmerli Art Museum, Jane. Art of the Baltics: The Struggle forFreedom of Expression Under the Soviets, 1945-1991. Newbrunswick, NJ: Rutgers UP, 2001. Print.
Žebrinas, Arnas; Žalakeviius, Vytautas; Puipa, Algimantas. "Lithuanian Cinema in 1960-1990." MUBI 2008-2012. <http://mubi.com/lists/lithuanian-cinema-in-1960-1990>.
* Žukauskaite, Audrone. "Imaginary Identities In Contemporary Lithuanian Art." Art and Research: A Journal of Ideas, Contexts and Methods 1st ser. 2.1752-6388 (2008): 37-41. Art and Research. Studio 55: Center for Research in Fine Art Practice, 2008. Web. 22 Nov. 2012. <http://www.artandresearch.org.uk/v2n1/pdfs/zukauskaite.pdf>. * The Treaty of Rome a first step towards the common market (1957)
* EFTA (European Free Trade Association) is launched--> another kind of Europe (1960)
* The European Community customs union is completed (1968)
*The Single European Act enters into force (1987) The SEA modifies the Treaty of Rome aiming to complete the formation of a common market which the earlier treaty had begun. It abolishes national vetoes in a host of areas relating to the single market increases the legislative powers of the European parliament and makes the first commitment by member states to create a "European Union" (http://news.bbc.co.uk/2/hi/europe/3583801.stm) * EU moves towards a single European Market: Market liberalization benefits more developed European countries...poorer countries like Lithuania struggled and made strong efforts to get in to EU (1988)
* The Treaty on European Union comes into effect (1993)
* The Amsterdam Treaty is signed (1997)-->Strengthens laws on Employment and Discrimination, gives the EU more say on immigration and asylum
* * Seeking EU approval led to movement of gender equality councils, education and policy-->Influenced the Arts in Lithuania during this period
*Sparks hopes and Imaginations of new possibilities EU Influences in the Arts: (http://news.bbc.co.uk/2/hi/europe/3583801.stm) Politics and Art in The Baltics: 1960-90s "Egle Rakauskaite deals with the socially and religiously coded body. In a country with a strong Catholic tradition and major social problems the expressions are often discarded or ignored, and in the mythologized form represents the excessive suffering.
"Rakauskaite works with body-related materials such as chocolate. The unorthodox-DOXE material and the pungent smell of her sweet-lined chocolate crucifixes space convey their ambivalent and critical attitude towards the policy addressed the body." -The Baltic Times: Contemporary Art from Estonia, Latvia and Lithuania (http://www.galerieimtaxispalais.at/archiv_1999-2008/ausstellungen/baltic/baltic_rundgang04.htm)