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Ghada Amer (Arabic: غادة عامر; May 22, 1963, in Cairo, Egypt [1]) is a contemporary artist, much of her work deals with issues of gender and sexuality. [2] Her most notable body of work involves highly layered embroidered paintings of women's bodies referencing pornographic imagery.
Many contemporary Chinese women artists have employed the use of female bodies as the subject of their artworks. From the ancient and imperial period of China until early the 19th century, women's body images in Chinese art were predominantly portrayed through male artists' lenses. As a result, female bodies were often misrepresented.
The Turkish bath was the subject explored by the French painter Ingres, and one can see this circular work where women are in a variety of poses and it is this composite imagined image of women bathing. Their bodies are intertwined while listening to music, lack agency within the composition, and objectify the female form.
This is a partial list of 20th-century women artists, sorted alphabetically by decade of birth.These artists are known for creating artworks that are primarily visual in nature, in traditional media such as painting, sculpture, photography, printmaking, ceramics as well as in more recently developed genres, such as installation art, performance art, conceptual art, digital art and video art.
From ancient history to the modern day, the clitoris has been discredited, dismissed and deleted -- and women's pleasure has often been left out of the conversation entirely. Now, an underground art movement led by artist Sophia Wallace is emerging across the globe to challenge the lies, question the myths and rewrite the rules around sex and the female body.
Feminist aesthetics focuses on all objects created by women, whether or not they are seen as "art". [10] Since those craft practices occur in the home where many women continue to work, their creativity is overlooked by the perception of "art", because their domain is marginalized. [16]
The work depicts a woman sitting on white towels spread over a wicker chair, with her back to the viewer. Her body is arched and slightly twisted, creating a tension in her back, accentuated by the deep line of her backbone. One hand dries her neck with a towel, presumably after the woman exited the tin bath in the corner of the room. The other ...
The absence of women from the canon of Western art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?", examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and ...