WEEK ELEVEN: FEMINISM

Why study feminism? 

Separated by waves/generational. Different levels of intensity. 

First wave of feminists, sufferagists. Plus all the movements that women arent mentioned in. Being organized, leaving the house, totalists, prohibition movement, conservationist, labor movements. Protection of children. Mostly upper class women. Upper east side manhattan, blue bloods

1971, women did not have voting rights until then. 

In england 1920-21; had to be 21 and to be  property owner.

SECOND WAVE: 1960s

Gloria Steinum

dont shave your legs, etc! 

biological difference between men and women that they do not want to acknowledge

Third Wave: Katy Roifey, Take Back the Night Marches

Stem areas: you think you have the choice to do whatever you want but you feel, as a woman, intimidated by the hard sciences or the pre-determined stereotypes of women cannot be anything they want, hard sciences, etc, more the dainty ways

Sexuality was squashed in second wave feminist, dressing provacative towards a man is selling yourself short, etc

WHY HAVE THERE BEEN NO GREAT WOMEN ARTISTS, 1971, Linda Nochlin

• Male masters of the Renaissance. Predetermined levels
• Historically, we have looked at art done by white men. The Renaissance men, Michelangelo, Raphael. Because the ideal of beauty is the ideal male nude. Winkelmann
• Sexuality is history has been more fluid, rigidity has  become a recent thing. 
• There is not a model of self, but there are selfs you have the deal with. You are a social being, that has to deal with family, bosses, relationship, what you see in the mirror before you go to bed.
• institutional and educational exclusion of women, not just formal, informal education. Process of self-selection. 
• art making is a bourgeiose production. Explains why art is the way it is. Aristocracy gives the patronage and the education options to pursue art. Women had duties that kept them from the Bourgiose production
• we live in a society that measure us by productivity but there are so many hours in a day. 
• part of lack of institutional and educational limitations of females, is the lack of accessibility. not allowed to study, but not allowed formal programs because of sex, not allowed to draw from a full nude male model they were draped. women could only make portraits of other women, still life, interiors (Mary Cassatt). Women were not allowed to paint HIstory paintings which were the TOP of the art realm
• p. 27. fringe requirements, closed to women. ability to travel freely, organizational factors, self-confidence, etc. Women did not have that 
• footnote number 8: female nude models wore masks at the classes late as 1886
• they were considered sluts and prostitutes at the best. 
• 
  

Nannette Solomon, Art historical cannon, sins of omission

• 345
• roland barthes, not just on death of the author, but before and after constructing of th ebook. the author is a monolithic thing that produces books. 
• same as the father to a child 
• anti-feminist way to describe how we make things. 
• always a relationship between the artist and the teacher, the artist and its creation, always father son. 
• balancec between submission and authority of the artist or teacher. geneology of influence. how we teach art, linear. creates a closed system that no one can enter
• women are kept out of that system because they are not able to be a part of the influence and stream line unless their fathers were artists and taught them
• outright oppression of women is more of a modern thing. more women making things as Artists made things in early Renaissance. Post-Enlightenment caused it all to change. 
• Janson
• exclusion of women artists from his textbook (all art books variations of his)
• he said that no woman artist was important enough to put in
• the works are archivements of the imagination and how it changed the history of art and now women has changed art
• he may hhave been gay? more issue with women then?
• what do you do about the omission?
• 351
• inserting women into the flawed art history canon just reafirms instead of challenges the system
• 
  

CRAIG OWENS

• postmodernism may just be created to include women
• difference of male and female and that is how we get through life. sexual identity. 
• p.11, what can be said in patriarchal society of art. Prizes vision over the other senses        
• we have many great women writers but when it comes to the visual world, it is dominated by men. 
• what is representation? what does it do to women. 
• art is no longer what it is about, it is about what art does. 
• feminists artists not wanting to engage in theory, footnote 19. because it could be an anti-feminist postmodernist movement

Laura Mulvey,  Visual Pleasure and Narrative Cinema, 1975

• two ways of looking:
• voyuerism
• identify with the subject as a measure of ego libido,
• p. 835 need to kill pleasure and make a new level of desire
• relies of psychoanalysis, a specific mode of looking. heterosexual man and heterosexual woman

BODY, Amelia Jones

• body as a representation of death. being is a representation of Death. 
• absense of the body (engagement of the body in art)
• 
  

THE GAZE, Margaret Olin, 

• literal art that is engagint with the art with fried
• art vs. objecthood. versus Fried's idea
• art is visual
• obecthood is tactile and thought of with 
• talks about mulvey article, 
• voyeuristic specticle, mulvey is the voyeur of men. I am watching you watching me. shames the male viewer for his gaze
• limits of mulvey, gays ,etc are ignored in her article
• cassatts work is often looked at by her reading this
• photograph is a representation, she is omitted from the interaction because she cannot reciprocate. 

NORMA BROUDE, Mary Cassatt: Modern Woman or the Cult of True Womanhood

• very out, has a female partner, not lipstick lesbians. Very confrontational in the field
• pg. 36
• at the request of Palmer at the national COlumbia exhibition for the Woman's Building
• was not really reclaimed because no male figures and thus was called by critics, trivial

Jane Fonda on NPR interview

idea of genius being a myth and a construction of man, lineage from teacher and man, father and child issue again