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Articulate: Feminist Text-Art from t...

Baldini, Vanessa.

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Articulate: Feminist Text-Art from the 1990s-Today: Four Case Studies.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Articulate: Feminist Text-Art from the 1990s-Today: Four Case Studies./
作者:	Baldini, Vanessa.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	56 p.
附註:	Source: Masters Abstracts International, Volume: 57-01.
Contained By:	Masters Abstracts International57-01(E).
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10635320
ISBN:	9780355325683

Articulate: Feminist Text-Art from the 1990s-Today: Four Case Studies.
Baldini, Vanessa.

Articulate: Feminist Text-Art from the 1990s-Today: Four Case Studies. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 56 p.

Source: Masters Abstracts International, Volume: 57-01.

Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2017.

This Qualifying Paper examines feminist text-based art from the 1990s to the present through four contemporary artist case studies: Tracey Emin, Emily Jacir, Lisa Anne Auerbach and Juliana Huxtable. It provides a brief pre-history of important text-based art from the 1960s through the 1980s by artists Adrian Piper, Mary Kelly, Barbara Kruger, Jenny Holzer, and the Guerrilla Girls to demonstrate some of the earliest topics explored in feminist art, and to show how issues that the earlier text-based feminist artists addressed---sexual freedom, a right to choose, and historical issues such as war and government corruption---are still pertinent today. The four contemporary artists also focus on feminist issues dealing with the female body and the history of "her" people. They each create text work on these concerns using diverse media. This Qualifying Paper articulates how society as a whole has not progressed to the degree feminists would hope, in a sense that certain issues that were important fifty years ago are still important today. Across over half a century, media, generational perspectives, and conversations have changed, but the fundamental questions and ambitions of equality and freedom have not.

ISBN: 9780355325683Subjects--Topical Terms:

2122701
Art history.

Articulate: Feminist Text-Art from the 1990s-Today: Four Case Studies.
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500 $a Adviser: Mari Dumett.
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520 $a This Qualifying Paper examines feminist text-based art from the 1990s to the present through four contemporary artist case studies: Tracey Emin, Emily Jacir, Lisa Anne Auerbach and Juliana Huxtable. It provides a brief pre-history of important text-based art from the 1960s through the 1980s by artists Adrian Piper, Mary Kelly, Barbara Kruger, Jenny Holzer, and the Guerrilla Girls to demonstrate some of the earliest topics explored in feminist art, and to show how issues that the earlier text-based feminist artists addressed---sexual freedom, a right to choose, and historical issues such as war and government corruption---are still pertinent today. The four contemporary artists also focus on feminist issues dealing with the female body and the history of "her" people. They each create text work on these concerns using diverse media. This Qualifying Paper articulates how society as a whole has not progressed to the degree feminists would hope, in a sense that certain issues that were important fifty years ago are still important today. Across over half a century, media, generational perspectives, and conversations have changed, but the fundamental questions and ambitions of equality and freedom have not.
520 $a When feminist art emerged in the 1960s, the voices that were most often heard belonged to Western, white, liberal, middle class women. Despite their often, best intentions, or, in some cases lack of broader consciousness, the subject position operated as a kind of, tacit and false, universal within dominant Western feminist discourses. Issues of race, ethnicity and class were left out of discussions. Women feminist artists of color were just as concerned with women's rights, but often due to institutional barriers did not have the same access to forums as their white peers, who were struggling in their own right within the male-dominated power structures of the art world. Important voices, such as Angela Davis, in her groundbreaking book, Women, Race and Class (1981) helped develop feminism that is "intersectional," as we call it today, whereby these things are seen as integral and necessary to address simultaneously in order for all women and society to progress. Multicultural feminism emerged in the 1980s, and reflected different economic and socio-cultural backgrounds, including those from developing countries as well as major world powers. Contemporary artists Emin, Jacir, Auerbach, and Huxtable are considered multicultural feminists and their perspectives are more diverse than their predecessors. Rather than expressing one singular voice for all women, they explore different approaches to issues regarding identity politics, ethnicity, and class.
520 $a In 2017, in the context of the United States, feminist text-based art takes on added significance and is flourishing. The election of the 45 th president, Donald Trump, has galvanized women in the US and around the world, who are outraged by his words and actions towards women, Muslims, African-Americans, Mexicans, and immigrants. It is thus an opportune time to investigate the practice of feminist-based text art and see how it has evolved. This paper demonstrates how the messages and dialogues created by the generations of feminist text-based artists since the 1990s take on new looks and expand the purview of feminism, yet often grapple with the same fundamental issues as the earlier generation text-based artists.
520 $a Each of the four contemporary artists use a range of media including sewing, inkjet prints, freestyle writing, and newspaper prints. Some use their own words and some appropriate words, phrases, or slogans from other sources. The language and tone each feminist artist uses range from formal institutional language to candid and even obscene. This paper compares and contrasts the way text operates in their works, linking the artists' similarities and influences on each other, where applicable. In some cases, it becomes clear that certain works are both strengthened and arguably weakened by their historical specificity. They function best only at a time when the artist created them and do not translate well over time.
520 $a Lastly, this Qualifying Paper will conclude with a discussion of intersectional feminism and articulate what women artists are writing about now. Intersectionality is a term coined by civil rights advocate Kimberle Williams Crenshaw, and, as suggested in the preceding paragraph, used to describe the ways in which oppressive institutions (racism, sexism, homophobia, ableism, xenophobia, classism, etc.) are interconnected and cannot be examined separately from one another. This Qualifying Paper will illustrate the trends and evolutions in feminist text-based art in conversation with the ways that history continues to show us that it repeats itself. Feminism and intersectionality were created out of necessity, and persist in the fight for social change. Feminist text-based art has an important role to play.
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