Additionally, rather than valuing feminine beauty for its effect on male desire, artists sought to value feminine beauty for their own empowerment. Untitled Film Still #17 by Cindy Sherman, 1978, via Tate Museum, Londonįeminist art of the 1970s hoped to change that: it sought to raise traits considered typically feminine to the same level of value and appreciation as traits deemed masculine. 22). A lot of this exploration dealt with the female body, which had become a symbol of passivity and objectification.

Feminist artists during the seventies explored the shared, collective experiences of women as a means to understand themselves as individuals (see Further Reading, Broud & Garrard, p.

Ideologically, the rise of the feminist art movement in the 1960s and 1970s sought to reclaim the female identity while preserving what they believed were the fundamental differences between men and women. It is also important to note that it wasn’t until second-wave feminism that women of color held prominent positions within the movement the first wave was led primarily by white women heralding from middle-class society, with the exception of early feminists tied to the abolitionist movement, such as Sojourner Truth. In contrast, first-wave feminism, which dates back to the 19th century, was more centered on women’s suffrage. The feminist art movement in the United States developed during what is known as “second-wave feminism.” This era, spanning from the 1960s to the 1980s, focused on questions of sexuality, gender roles, reproductive rights, and the overturning of patriarchal structures. The Evolution of the Feminist Art Movement The Dinner Party by Judy Chicago, 1974-79, via the Brooklyn Museum, New York Your Body is a Battleground by Barbara Kruger, 1989, via Daily Maverick With her past experiences in advertising in mind, Kruger developed her signature look: high-contrast black and white photographs with words set in bold block-shaped font superimposed on top. The phrases are usually short and simple but packed with meaning. What makes this format so effective is its simulation of media imagery: the black and white photos are similar to those found in newspapers and tabloids, while the bold, simple words seem very dictatorial, lending credibility to the statements (see Further Reading, Linker, p. Kruger’s work reflects the consumerist media’s discovery of the formative power of images, but she uses this theory for a political end goal. It wasn’t until the early 1980s that Kruger began creating her iconic collage and text art that she is famous for today. After taking a break in 1976 and moving to Berkeley, California, where she taught at the University of California, Kruger returned to the craft, focusing on photography. Kruger started creating art as early as 1969, experimenting first with multimedia wall hangings and more abstract art and objects. The following ten years saw her working as a freelance graphic designer and photo editor for numerous publications and projects. She briefly attended both Syracuse University and Parsons School of Design before getting hired at Condé Nast Publications to work in the page design department for Mademoiselle magazine. Barbara Kruger: Life & Work Photograph of Barbara Kruger, via ThoughtCoīorn in 1945, Barbara Kruger was raised in a working-class family in Newark, New Jersey.

Collage vs. montage definition