Use Nochlin's claims about the limitations on women as a touchstone as you discuss the work of the artists we looked at today (Christo and Jeane-Claude, Bearden, Spero, Chicago, Mendieta) How did these artists seem to
1) push against their limitations or prescribed social roles?
2) challenge the viewer to see life from their perspective?
3) use their identities to create an authentic experience with the viewer?
4) think about their role within the broader community?
Due Wednesday, November 7th
1) push against their limitations or prescribed social roles?
2) challenge the viewer to see life from their perspective?
3) use their identities to create an authentic experience with the viewer?
4) think about their role within the broader community?
Due Wednesday, November 7th
Christo and Jeane-Claude relied on the use of their subtle political insight which was empowered by their sheer visual beauty of their projects. The point was to engage the public in a critical debate on society. Their values depended on wealth and power that would control democracy by shaping what people saw on television and what they read in the newspaper. The Christos were the first artists to communicate ideas successfully on a scale that enabled them to compete with big corporations in shaping the public’s perception of events. Their work “attempts to appropriate the reality of their monumental, temporary work of art into its normal manner of functioning.” It creates everyone to look with fresh eyes at themselves at the world around them. The great effect they had was that the viewer was required to do a “double-take” which created a great effect on their large-scale projects. They believe that their projects have their most poignant effect during a brief display period. After they remove them this occurs because in their view the structures relevance diminishes with the passage of time.
ReplyDelete“Their revolt against the normalizing functions of tradition is a defining feature of modernity. Postmodernism questions the very concepts of objectivity, absolute truth, the monolithic authority of a mainstream, and the possibility of fixed meaning.” Postmodernism is the belief in constant change in the pursuit of progress.
“I pursue no objectives, no system, no tendency; I have no program, no style, no direction. I have no time for specialized concerns, working themes, or variations that lead to mastery. I steer clear of definitions. I don’t know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty.” -Gerhard Richter
Romare Bearden anticipated the collage aesthetic of postmodernism in his recontextualization of images into a perception of reality on the picture plane. He awakened a broader sense of multiculturalism by bringing his Afro-Caribbean cultural heritage into it. “What I’ve attempted to do, is establish a world through art in which the validity of my Negro experience could live and make its own logic.” He also, “works out of a response and need to redefine the image of man in the terms of the Negro experience I know best.”
Bearden took on styles of such as baroque and cubism to describe the variety of street life in the Harlem of his childhood and his memories of black life in rural South. The Civil Rights movement in the sixties galvanized him into focusing his artistic gifts on the complexity of the black experience, with all its heritage and adaptations occurring in the mid-twentieth-century.
Feminist criticism became particularly important in the seventies in directing the broad public toward a more openly inclusive approach and a deeper appreciation of what makes each of us who we are. Ana Mendieta explored the sexuality of the human body in the 1970’s that defined important works. Nancy Spero was known for making powerful anti-war images using sexual anatomy as metaphors. Her idea was to make the images express the obscenity of war. Judy Chicago’s work is symbolic in history of women’s achievements and struggles. Feminism in the seventies was chiefly concerned with societal definitions of women’s roles; with practices such as collaboration that undermined what was viewed as a patriarchal interest in the authorial role of the artist.
-Peter
In the Article, “Why Have There Been No Great Women Artists?” Linda Nochlin discusses the limitations imposed on female artists in their journey to become “Great.” Some of the biggest factors include the gender roles/norms inherent in our society, women’s relevancy (or lack thereof) in the artistic market, and insufficient investigation of significant female artists. At the most fundamental level, however, Nochlin believes the reason “why there have been no great female artists” is simply this: “the arts, as in a hundred other areas, are stultifying, oppressive, and discouraging to all those who did not have the good fortune to be born white, preferably middle class, and above all, male” (5). From the time we are born, our institutions and education systems teach us to value and exalt people with these qualities and devalue people without them. That’s just the way it is. But rather than allowing this to become a depressing fact, Nochlin points out the miracle within this statistic: “so many HAVE achieved greatness in spite of the odds against them.” Artists like Christo and Jeanne-Claude, Bearden, Chicago, Spero. That’s what we need to focus on. Not the ones that have gone unrecognized.
ReplyDeleteAritists like Christo and Jean-Claude pushed against their limitations to create large scale installations on a massive level that no one had ever achieved before. Pinching pennies to get by, they went out and lobbied their work until someone was crazy enough to sign off a multi-million dollar budget large enough to make their visions a reality. They then hired professional engineers to wrap thousands of yards of cloth around national monuments, islands, and desolate landscapes so that people could experience the places they generally took for granted in a new, more appreciative light. In this way, they brought the community together and created an authentic experience with their viewers. Despite their limitations as artists (poor, unemployed, understaffed, and originally unnamed) they pursued their passions and pushed their ideas until their work caught on. Now, they are two of the most well recognized artists in the industry.
In our class discussion on Nochlin's article about the lack of great woman artists, we decided that women were primarily hindered by the limitations established by the societies in which they lived. Although American culture has come a long way, there are still societal restrictions placed upon various groups of individuals, not just women. Postmodernists question these limitations as well as other cultural issues of gender, politics, race, etc. Postmodern artists remark on these issues through unconventional methods that push the limitations of the art world. Ana Mendieta questioned gender roles through her body impressions that utilized a blend of sculpture, photography, and performance. This varied approach to media breaks the mold of conventional ideals of beauty that are limited to an indoor exhibition space. Christo and Jeane-Claude also worked beyond the boundaries of typical gallery exhibits to cover large public spaces, which, as Peter said, requires the viewers to look at already visible sites with "fresh eyes." Further, this community involvement blurs the thick line between viewer and artist. Romare Bearden also worked with this idea of community as his works were often inspired by the people directly around him. Because Bearden's works discuss racial tensions without being militant, The viewer is invited to view a societal commentary; the aesthetic experience is changed into a learning experience through the exposure to diversity. Alternately, Judy Chicago's work "The Dinner Party" has created a lot of controversy because of its aggressively feminine qualities. As a continuation of its original message, Chicago's work is permanently exhibited as an illustration of women who have surpassed societal obstacles. Similarly, Nancy Spero's art may not be considered beautiful by every viewer, but the form of the works follows function. Her works push boundaries of 2D collage methods and printmaking through gestural drawings (almost with an air of protest) to critique war and the imbalance of power between masculinity and femininity. Through the variance of technique and message, the aforementioned artists' works are representative of postmodern viewpoints that struggle against societal ideals and issues.
ReplyDeleteAs Caty mentioned before, Linda Nochlin states in her article, “Why Have There Been No Great Women Artists?” that the art world is constructed to accommodate the white male of a preferably middle class and therefore, women have an obvious amount of bias and disadvantage to overcome when they attempt to foray into the role of successful artist. However, there are women artists that are pushing against these limitations and producing meaningful work.
ReplyDeleteI think that Nancy Spero pushes against the prescribed limitations and social roles by using the female body, which is often viewed as a limitation in society, as a tool with which to make her message. Her method then results in images that are filled with double meaning as she uses the empowered image of the female form to convey very strong messages. This utilization of the female form is a departure from how it is normally represented (as degraded and exploited in the media) therefore; Spero forces the viewer to view the female form as she views it. Her explicit and strong female forms utilized in a critique against the Vietnam War results in violent imagery that conveys Spero’s message in a forceful and momentous way.
Likewise pushing against the limitations facing women artists, Judy Chicago’s Dinner Party defies the notion that women possess dependent identities. By highlighting some of the most important women throughout history and weaving their stories together to form the large scale installation of the Dinner Party, Chicago shows that woman can and do forge their own paths independent of circumstance, spouse, or family. By highlighting women like Virginia Woolf and Sojourner Truth, Chicago fights against the presupposition that women must rely on others for validation.
Nochlin’s article on “Why Have There Been No Great Women Artists?’ sheds light on women’s limitations throughout history in the artistic field, as well as other areas, to be “great” artist like their male counterparts. These limitations include the women’s specific role in societies as care-givers and nurturers (due to their reproductive functions), lack of education and ability to learn art curriculum, limited finances, little support for artistic endeavors, etc. However, while women were “deprived of encouragements, educational facilities and rewards, it is almost incredible that a certain percentage of women did persevere and seek a profession in the arts” (36). A few of these “incredible” women are artists like Chicago, Mendieta, Christo and Jeanne-Claude, and Spero. They worked against societal pressure and ideals, among other factors, to create beautiful and successful works of art. For example, Spero created very stimulating and controversial works that address issues of feminism and political violence. The graphic material of her works captures the viewer’s attention and encourages them to create dialogues about the issues being brought to light in her works. Spero, Chicago, Christo and Jeanne-Claude, Mendieta, and Bearden incorporate their personal histories and experiences in their art and address past or current social issues. This creates not only authentic experiences with the viewer but brings people, with differing ideals and walks of life, together to be able to experience and talk about issues that effects entire communities. Christo and Jeanne-Claude create monumental works that encourage people to gather together and view. They want to create aesthetically beautiful works that encourage feelings of love and joy, as well as making people more aware of themselves and their surroundings. Like the other artists, they use their art to project to others how they view the world.
ReplyDeleteNochlin’s article not only sheds light on feminist theory, but also calls the reader’s attention to a social criticism. The nature of society and its limitations are responsible for the lack of “great female artists.” Social criticism remains a consistent theme throughout postmodern art. Directly related to feminist theory are the works of artist Ana Mendita who interjects her body within natural settings. This draws upon feminine themes such as the female body as a source of life and sexuality. However, while femininity is present in all of her works, they also hold a sense of oppression. Blending into the natural setting, Mendita feels confined and objectified by female misconceptions.
ReplyDeleteThe redefinition of femininity is also throughout Nancy Spero’s works. While Fineberg notes her images use sexual anatomy to convey a negative reaction to the War in Vietnam. In this sense her works present her perspective through the crude human form. However masculine and feminine roles also arise within her works by asserting the male form as the creator of the female’s problem. For example, in “Rifle/Female Victim,” the female nude is victimized by the surrogate of war—the penis shaped rifle. Her other works also provide a unique perspective on womanhood, many of which combine text to highlight key points about the female (see examples from this blog http://nysva.over-blog.com/article-nancy-spero-49146081.html). Spero also states her materials (hand-printing using a zinc plate rather than a palate and brush) to separate her works from Western emphasis; a further example of her ability to craft an individual message.
Judy Chicago’s “Dinner Party” expands beyond an individual perspective and social commentary. By collaborating on this work with more than 400 women, she reflects on the historic achievements of women by inscribing female names into the ceramic floor under a vagina-shaped dinner table. In this work she is just one female voice among hundreds from a broad culture.
Chrsito and Jeanne-Claude connect with the viewer beyond iconography. Their large-scale works not only comment on social change, but also encourage the viewer’s interaction with their finished scenes. For example, by wrapping the historic Pont Neuf Bridge in shimmering fabric they produced a work which viewers were able to walk on and engage with. This goes beyond merely analyzing a painting for artistic intent; rather, it provides a live experience. The message of imposing creative, individual thought within the solid confines of society is not misunderstood. In fact, the interaction of the viewer with the product helps manifest creative inspiration.
Overall, these artists provide social criticism through various messages and themes. While their messages may differ, the ability to provide an individualist perspective makes these artists stand apart.
Christo and Jeane-Claude, like Peter mentions, relied on their “subtle political [and social] insight which was empowered by their sheer visual beauty of their projects.” They pushed against the conformity of having good art, not just decorative art, outside of a museum’s walls to be viewed and appreciated. They collaborated and made sure to involve the community and public into their works, hiring those seeking employment just for the sake of putting up some of their more gigantic works. This collaboration allows the viewer to become more a part of the art itself, giving it a completely unique and authentic experience.
ReplyDeleteClareese mentions that “Nancy Spero pushes against the prescribed limitations and social roles by using the female body, which is often viewed as a limitation in society, as a tool with which to make her message.” I believe that Mendieta also does the same. She literally will use her body as pseudo body casts making her body or imprints into a sculptural/site specific work. She’ll use organic materials, bringing her work ‘back to the material source’, but the meanings of her work are ground deeply into the liberation of the female view. In that same thought, Chicago’s work does just the same. The Dinner Party is an extension of this liberation of the female view. The more climatic the certain woman was during her time, the more the depicted female genitalia would be prominent off the plate; almost trying to rise off of the plate.
As Nikki mentions about Christo and Jean-Claude, "They pushed against the conformity of having good art, not just decorative art, outside of a museum’s walls to be viewed and appreciated." I think this was the most important step for Christo and Jean-Claude to push against their limitations and prescribed social roles. It is nearly impossible for women or non caucasian artists to have their work displayed inside of the top art museums around the world. So how does one overcome the limitations that the institution of the art museum has in place? You take your work outside of the museum. You wrap the Reichtsag, the pinnacle of Nazi government in WWII and one of the greatest conquests of the Russian army, in a nylon jumpsuit. The thought that a woman was behind this idea is achievement and validation enough. Since society wouldn't recognize Christo and Jean-Claude because of the societal structures in place, they forced their recognition through the sheer size and in-your-face nature of their work.
ReplyDeleteNacy Spero took another approach to being recognized. Her work focused on the horrors of the Vietnam war. War in general is seen as having a male gender because men are primarily the ones who fight in them and want to have them (although women make the wars possible by building all the resources needed to fight in them!). Spero also didn't use massively scaled works, she used very small works, with extremely powerful and relatable imagery. The themes and concepts are easily interpreted by both sexes, and neither sex can deny the horrors of the Vietnam War. I think the show in the CFAM right now flip flops Spero's ideas of a female tackling primarily masculine themes. The artists in the show use a predominantly feminine craft, knitting, to get at larger gender issues and stereotypes. It is apperent that this is a great way to get recognized if you are being undermined by the institutions in place in society.
Christo and Jean-Claude push against their limitations by creating shocking, large scale productions in public spaces that are atypical of their environment. For example, they will surround small islands with hot pink tarp, cover historic/monumental buildings with a giant sheet, or set up thousands of orange flags throughout the path of central park. This is a way of getting audiences to recognize and appreciate what they may often take for granted (beautiful landscapes, historic buildings in their city, etc). People may walk by a certain building every day which is extremely rich in history, or live in a breathtaking area but they do not appreciate it because they are so used to it. Once that place has been altered, it causes the viewer to take a second glance to remember what is there or appreciate its beauty. The ability of their work to make viewers give a double-take is a very powerful effect on their large-scape projects to look at things people would typically overlook.
ReplyDeleteNancy Spero's work sparked anti-war dialogue using sexual anatomy as metaphors. The graphic images she created through the female body express the obscenity of war. Topics of feminism and political violence are controversial and create dialogue (imbalance of power between masculinity and femininity, etc). Women throughout history have had prescribed social/gender roles and Spero's work pushes these limitations by almost exploiting women and putting them in a certain light that most people may find inappropriate in order to convey her message.
Judy Chicago, a feminist artist as well, created a piece called "The Dinner Table", which recognizes influential females throughout American history by giving them individualized place settings at a triangular-shaped table. The triangular table, as well as the dinner plates symbolic of vaginas (as well as each women's achievements), pushes against the limitations of Chicago's prescribed social/gender role as a female because she is recognizing FEMALE accomplishments in history (which are typically overlooked). This challenges the viewer to recognize these women and take a look at history through a female perspective. It is important to recognize women as equals to men and celebrate femininity, which Chicago does exquisitely through her work.
Romare Bearden is an African-American artist who, as PC said, established "a world through art in which the validity of my Negro experience could live and make its own logic.” The racial topics of his works sparked conversation with his viewers.
Ana Mendieta's work often focused on themes including feminism, violence, life, death, place and belonging. By connecting personal experiences from her past to current social/cultural topics, viewers are again involved in discourse and able to relate the works to their own lives.