论文代码:女性主义艺术

论文代码:女性主义艺术

他们的艺术重点是介入艺术界的建立,艺术史的准则以及日常生活的社会互动。苏珊娜·莱西(Suzanne Lacy)是一篇描述女性主义艺术目标在于影响文化态度并导致刻板印象的转变的文章(Sandler, 1996)。历史上,不存在任何个人媒介或独特的风格统一这些女权主义者工匠,这些艺术家认为从几个方面结合媒体和运动包括人体艺术、概念艺术,甚至视频艺术到任务,展示信息经验的女性和要求平等的性别(Springer,1996)。女性主义艺术创造了机会,也为女性和小工匠创造了空间。

论文代码:女性主义艺术

这场运动也为20世纪80年代开始的激进艺术和身份认同艺术铺平了道路。这场运动背后有几个关键的思想。首先,女权主义艺术家试图通过女性视角的包容在艺术作品和观众之间创造一种对话形式(桑德勒,1996)。仅仅,艺术不是一种审美崇拜对象,但它也可能导致观众在社会和政治上对风景产生怀疑。通过这样的质疑,对世界可能产生的影响进行了研究,以激起某种形式的变革,从而导致男女平等。

论文代码:女性主义艺术

The focus of their art was over intervening in the art world establishment, the canon of art history along with social interactions of everyday basis. Suzanne Lacy as an article depicted that the Feminist art goal lies in influencing the attitudes of culture and resulting in transformation of stereotypes (Sandler, 1996). Historically, there did not exist any individual medium or unique style which united these Feminist artisans, as these artists considered combining the aspects from several media and movements inclusive of Body Art, Conceptual arts and even Video art into tasks presenting information on experiences of women and the requirement for equality of gender (Springer et al, 1996). Opportunities were created by Feminist art as well as spaces which previously were not present for female’s and minor artisans.

论文代码:女性主义艺术
The movement also paved the way towards activist art and identity art that undertook in the 1980s. There were several key ideas behind this movement. The first was that the feminist artisans sought at creating a dialoguing form between the artwork and the viewer by women’s perspective inclusion (Sandler, 1996). Merely, art was not an aesthetic admiration object but it could also lead towards inciting the audience to doubt the landscape socially and politically. By questioning as such, a possible influence over the world was looked into in order to incite some form of change that leads towards the equalization of men and women.

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