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艺术和性别 [2]

论文作者:www.51lunwen.org论文属性:课程作业 Coursework登出时间:2016-01-03编辑:zhaotianyun点击率:7125

论文字数:1339论文编号:org201512052213194781语种:英语 English地区:中国价格:免费论文

关键词:modernism意识形态艺术和性别

摘要:摘要:本文主要讲述了现代主义的风格及艺术特点中的概念。

han accessibility or stylishness. Still describing herself as a formalist, unlike other feminist artists she didn't want to distance herself from male-oriented art history.


Schneemann acknowledges that she is often labelled as a feminist icon and that she is an influential figure to female artists, but she also notes that she reaches out to male artists as well. Though she is noted for being a feminist figure, her works explore issues in art and rely heavily on her broad knowledge of art history. Though works such as Eye Body were meant to explore the processes of painting and assemblage, rather than to address feminist topics, they still possess a strong female presence.


Revolving herself around sexual expression and liberation Schneemann decided not to revolve around victimization and repression of women. 'According to artist and lecturer Johannes Birringer, Schneemann's work resists the political correctness enforced by some branches of feminism as well as ideologies which feminists claim are misogynist, such as psychoanalysis. He also asserts that Schneemann's work is difficult to classify and analyze as it combines constructivist and painterly concepts with her physical body and energy.'(Kristine Stiles p3) 'In her 1976 book Cézanne, She Was a Great Painter, Schneemann wrote that she used nudity in her artwork to break taboos associated with the kinetic human body and to show that 'the life of the body is more variously expressive than a sex-negative society can admit.' She also stated, 'In some sense I made a gift of my body to other women; giving our bodies back to ourselves.' She preferred her term 'art historical' (without the h), so as to reject the 'his' in history' (Bonnie Marranca Review)


While Jo Spence being a surliest and a feminist started her art life working on documentaries, which was very motivated by her political views. Spreading her working life across various camera projects, including being the founder of Hackney Flashers in 1974. After being diagnosed with cancer, Spence became particularly fascinated with the doctor patient relationship 'Passing through the hands of the medical profession can be terrifying when you have breast cancer.'(Jo Stanley article) Spence decided to document everything that was happening to her through photography, a piece taken while she had a mammograph done truly showed the brutality of her illness as she put her whole body under the scrutiny of one machine making her an active subject in her work.


After a lumpectomy, Spence decided to undertake the holistic approach to cancer and underwent various Chinese medicine treatments, as she felt no need for chemotherapy or radioactive drugs. She also decided to use photography as a healing drug putting the emotion and passion into her work as she felt like cancer was able to take everything else. Through phototherapy she managed to capture the relationship between the doctor and the patient, her feelings towards cancer and the powerlessness as a patient. All of this was a need for Jo Spence to portray as not only a patient but a feminist. She was particularly interested in the perception of the breast as substance of desire, a medium for nourishing babies, and finally in her case of breast cancer, as a possession to be installed in the hands of the medical institution. This is what has really inspired me with 论文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。

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