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Two hundred years later, in the 1970s, women were still fighting to achieve this basic level of respect and equality in the academic and artistic worlds, and it was the 1970s that saw the beginnings of a new art movement, the Contemporary Feminist Art Movement. The movement was inspired by demands for social, economic and political change and by the desire of female artists to try and force art galleries and museums to establish a fair representation of their work; there were very few female art teachers at that time, though the majority of students were female. It was common and widely accepted for art exhibitions to contain the works of men only, women being discriminated against openly, with some having to face the double discriminatory blow of also being black. Faith Ringgold (b.1930), an American artist, was told she could only exhibit in the museums devoted to African American art after all the black male artists had had their shows.

By the 1970s, feminists and artists had started forming consciousness awareness groups that demonstrated at galleries and museums to expose some of these sexist practices, and opened galleries together for more exposure of their works.

With feminist artists wanting to go further than equal representation, their works were often full of political and social content crying out for political change. The women's movement in America had one such artist by the name of Judy Chicago. Born in 1939, Chicago often reflected on issues relating to the lack of female representation in her work, saying 'Because we are denied knowledge of our history, we are deprived of standing upon each other's shoulders and building upon each other's hard earned accomplishments.'

Many female artists voiced these opinions at that time, wishing to transform traditional fine art and sculpture to include feminist awareness, with many exploring the female body with the intention of reclaiming the sexualised images that had been created by the male artist that preceded them. Chicago's piece 'Dinner Party' called out for both art critics and establishments (and the Establishment?) To readdress the fact that so many female artists had been and were being excluded from art history texts used to educate the (largely female) art students currently attending the art education. This large work depicts a banquet, the settings embroidered representations of the vulva in a style appropriate to the women being represented, women Chicago wished to honour, with a further 999 women engraved in gold on the floor tiles. The geometric shape of this piece is fascinating, with the table laid out at a triangle, representing the tri-partite nature of women, the maiden, the mother and the crone. Indeed, an upside down triangle has long been used in paganism to represent the feminine.

This work has gone a long way in encouraging women artists to reclaim their identity in representing the female form, and readdress the frequent degradation of female genitalia previously represented in male-created art.

The Dutch artist Christina Camphausen (b. 1953) is another example of a female artist intent on reclaiming for women the representation of the fe本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。