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Feminist Art Redux
With the birth of the Feminist
Movement of the 1960s and 70s in the U.S., feminist artists began creating art in almost every medium on every topic, from their bodies to class, race, consumerism and political power.
Judy Chicago, one of the leaders of the Feminist Art Movement, was aware
that “art was a vehicle for intellectual transformation and social change” and rocked the art world with “The Dinner Party” (1974-79). The piece
comprises a massive ceremonial banquet, with a table arranged in the shape of an open triangle—a symbol of
equality. A total of 39 place settings each commemorate an important woman from history, from Sojourner
Truth to Georgia O’Keeffe.
In the last two years, art by women has seen a resurgence, exploding in a
variety of venues. At the Pompidou Center in Paris, “elles,” an exhibition of 500 works by more than 200 women artists, went on display in 2009. The
international collection will be shown for a year, beginning with early 20th Century paintings by French artist
Suzanne Valadon and ending with works by Japan’s Mariko Mori, among others.
While “elles” was in its planning stages, “WACK! Art and the Feminist Revolution” opened in 2007 at the Museum of Contemporary Art in Los Angeles and moved on to New York, Washington and Vancouver. That exhibition
spans 1965 to 1980 and
includes 120 artists and artists groups from the U.S., Central and Eastern Europe, Latin America, Asia, Canada,
Australia and New Zealand.
“And in 2007, the Brooklyn Museum of Art established the Elizabeth A. Sackler Center for Feminist Art,” says
Ferris Olin, co-director of the
Institute for Women and Art at Rutgers University, New Jersey. “When you see all that happening, you know there’s a sea change.”—M.Z.
Japanese Women Artists Break Barriers
Women artists have always had a difficult time exhibiting and selling their works because of gender discrimination. In Japan the patriarchal culture has made it even tougher, the reason
many moved to the West, according to Dr. Midori Yoshimoto, associate professor of art history at New Jersey City University.
In her book, “Into Performance,” she writes about five women artists, including Yoko Ono, who were among the first Japanese women to leave their country
and explore the artistic possibilities in New York City.
“The reception for Japanese women artists is warmer right now,” she says, “and I think younger women finally
have some role models.”
Tabaimo, for example, is an artist whose art “reflects her concerns as a woman,” says the art professor. Born in
Hyogo in 1975, Tabaimo created “Japanese Bathhouse-Gents,” a video and sound installation that uses the
bathhouse, an archaic but once integral part of Japanese life, as a metaphor to explore sexual equality, motherhood
and pollution.
Another artist forging a path for women artists, says Yoshimoto, is Kyoto-based
photographer and video artist Miwa Yanagi. Born in 1967, she burst onto the Japanese art scene in 1994 with
“Elevator Girl” (1994-98).
Her “Grandmother Series,” part of the “Off the Beaten Path” exhibit curated by Art Works for Change, explores issues of feminine self-image and aging through interviews and staged photographs of young Japanese women.
Asking them to imagine their lives 50 years in the future, she used makeup, costumes and digital manipulation to
realize their visions.
“I’m happy with people thinking of my work as feminist art,” she told The
Japan Times, “but I don’t set out with that intent. If you are making art on the basis of an agenda, it will inevitably
lose its power.”—M.Z.
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