The large, intricate sculptural installation of Kathy Ruttenberg — called “Nature of the Beast? A few days before the opening on March 13, upstairs from the cultivated curves of “Maebe,” the Caribbean-born artist Nicole Awai was working on a wall and floor installation that feels like a dark paean to the primeval oozing “materiality” of history. “We are millions of years of this.”Nail polish figures prominently for the artist as a material in her works on paper, which center on contemporary interpretations of a topsy-turvy doll, or two-sided conjoined figure, an image Ms.
Awai says embodies “the flux of identity, time and history, the perpetual orchestration of the condition of being female.”The doll is set against technical drawings and a “sensation code,” a meaningless cipher, that is like a color chart defined by names from nail polish bottles, such as Drama Queen and I’m Not a Tourist. That’s the point.”Using visual codes to decipher identity is personified through Marcy B.
None of those qualities is evident in the monumental female presence that greets visitors as they enter the exhibition: Nancy Davidson’s “Maebe,” an abstracted, exaggerated body form in inflatable latex, squeezed into a giant blue corset, pays tribute to Mae West, the sex symbol and champion of sexual liberation.
Surrounded by a net and “seemingly tethered” to the gallery floor with ropes and sandbags, “The bulbous and comical form of ‘Maebe’ is at once trapped and yet on the verge of an escape,” the wall text explains.
“The new 2016 Barbie Fashionistas doll line includes four body types (the original and three new bodies), seven skin tones, 22 eye colors, 24 hairstyles and countless on-trend fashions and accessories,” the toymaker said, adding, “Because With Barbie You Can Be Anything!
”Mattel tied the no-limits sentiment to the idea that “girls everywhere will have infinitely more ways to spark their imagination and play out their stories,” leaving room for hope of an understanding that self-esteem, confidence, respect and success do not depend on having a perfect body or hewing to society’s worship of surface beauty.Nevertheless, the achievements of the 1970's women's art movement were enormous and it is one of the most influential movements of that decade. study was conducted on Gender Discrimination in the Artfield.Twenty years later, the struggle for representation in the arts continues. The results are as follows: 50.7% of all visual artists are female and women hold 53.1% of the degrees in art, yet 80% of art faculty are males.The position that society has institutionalized on women as unable to be anything but subordinate and unexpressive is a major contributor to this claim.Giving a brief history of gender discrimination in the art field, examining different theories in regard to why women have been excluded from art history throughout the ages, and finally, discussing the contributions and progress that women artists and historians have achieved in the past two decades, will help to better understand the complexity and significance of women artists.There have been many theories behind the eradication of women artists from history.At the beginning of the Women's Liberation Movement, an art historian by the name of Linda Nochlin published an article called, "Why have there been no great women artists?" In here article, she addressed her own question offering one of the first consciously feminist challenges to the established canons of art history. If you weren’t related to an artist as a woman you would have no luck in the art industry.Her query proved to be a rallying cry for women artists in the fervent days of the Women's Liberation movement and offered fragments of a manifesto to women artists, and others, intent on reexamining and ultimately restructuring the discipline (Morse, 1992). The subject of feminist art is a difficult one, because of the problems defining it.Love or hate Barbie, the issues the doll represents remain fertile ground for artists, as demonstrated in a powerful show at Arts Westchester in White Plains called “SHE: Deconstructing Female Identity.”In the grand gallery created within the former People’s National Bank & Trust Company, works by 11 New York artists explore the continuing struggle of women “to redefine themselves in the face of shifting societal values, changing perceptions of femininity and the choice between domesticity and executive leadership,” as Janet Langsam, the longtime Arts Westchester chief executive, describes it in the exhibition catalog.“We knew this was a timely topic,” said Kathleen Reckling, the gallery director, adding that the planning of the exhibition started before Bruce Jenner identified as Caitlyn Jenner and incited a national conversation about gender identity.“‘SHE’ spotlights the challenges contemporary women face in defining contemporary ‘womanhood.’”“In the back of my mind was the idea of the ‘true woman,’” Ms. The historian Barbara Walter noted in 1966 that since the Victorian era, the “true woman” has been defined as possessing four core virtues: piety, purity, submissiveness and domesticity.