Hostname: page-component-8448b6f56d-sxzjt Total loading time: 0 Render date: 2024-04-25T02:08:23.166Z Has data issue: false hasContentIssue false

Feminist Art Epistemologies: Understanding Feminist Art

Published online by Cambridge University Press:  25 March 2020

Abstract

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art.

Type
Research Article
Copyright
Copyright © 2006 by Hypatia, Inc.

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Allen, Greg. 2005. The X factor. New York Times, May 1.Google Scholar
Bard, Elizabeth. 2004. A video game with awe as its quest. New York Times, March 21.Google Scholar
Beecroft, Vanessa. 2000. Vb08–36: Vanessa Beecroft, performances. Germany: Cantz Editions.Google Scholar
Brand, Peg. 2006. Enhancing artistic presence through contemplative contextual criticism. In Presence, ed. Robson, Julien. Louisville, Ky.: Speed Art Museum.Google Scholar
Chadwick, Whitney ed. 2002. Women, art, and society. 3rd ed. London: Thames and Hudson.Google Scholar
Chicago, Judy. 1979. The Dinner Party: A symbol of our heritage. Garden City, N.Y.: Anchor Books/Doubleday.Google Scholar
Chicago, Judy. 1988. Embroidering our heritage: The Dinner Party needlework. Garden City, N.Y.: Anchor Books/Doubleday.Google Scholar
Chicago, Judy. 1996. The Dinner Party. New York: Penguin Books.Google Scholar
Chicago, Judy, and Smith, Edward Lucie. 1999. Women and art: Contested territory. New York: Watson‐Guptill Publications.Google Scholar
Cotter, Holland. 2004. Black comes in many shadings. New York Times, August 13.Google Scholar
Cox, Renée. 2001. Renée Cox: American family. New York: Robert Millery Gallery.Google Scholar
Danto, Arthur C. 1964. The artistic enfranchisement of real objects: The artworld. Journal of Philosophy 61 (19): 571–84.CrossRefGoogle Scholar
DeSilverio, Victoria. 2004. New artist in town. New York Times, March 21.Google Scholar
Drape, Joe. 2004. Olympians strike pinup pose, and avoid setting off a fuss. New York Times, August 14.Google Scholar
D'Souza, Aruna ed. 2001. Self and history: A tribute to Linda Nochlin. London: Thames and Hudson.Google Scholar
Greer, Germaine. 1979. The obstacle race. New York: Farrar Straus Giroux.Google Scholar
Girls, Guerilla. 1995. Confessions of the Guerilla Girls. New York: HarperPerennial.Google Scholar
Girls, Guerilla. 1998. The Guerilla Girls’ bedside companion to the history of Western art. New York: Penguin Books.Google Scholar
Girls, Guerilla. 2003. Bitches, bimbos, and ballbreakers: The Guerrilla Girls’ illustrated guide to female stereotypes. New York: Penguin Books.Google Scholar
Girls, Guerilla. 2004. The Guerilla Girls’ art museum activity book. New York: Printed Matter, Inc.Google Scholar
Harris, Ann Sutherland, and Nochlin, Linda. 1981. Women artists: 1550–1950. New York: Alfred A. Knopf.Google Scholar
Hoban, Phoebe. 2004. Masks still in place, but firmly in the mainstream. New York Times, January 4.Google Scholar
Hooks, Bell. 1992. The oppositional gaze. In Black looks: Race and representation. Boston: South End Press.Google Scholar
Jenkins, Tamara. 2004. Lisa Yuskavage: Small paintings, 1993–2004. New York: Harry N. Abrams.Google Scholar
Kimmelman, Michael. 2003. With barbed wit aforethought: John Currin up till now. New York Times, November 21.Google Scholar
Kimmelman, Michael. 2004. The sun sets at the Tate Modern. New York Times, March 21.Google Scholar
Lippard, Lucy R. 1976. From the center: Essays on women's art. New York: Dutton.Google Scholar
Morreall, John. 1987. The philosophy of laughter and humor. New York: SUNY Press.Google Scholar
Mulvey, Laura. 1989. Visual and other pleasures. Bloomington: Indiana University Press.CrossRefGoogle Scholar
Nochlin, Linda. 1971/1988. Why have there been no great women artists? In Women, art, and power and other essays. New York: Harper and Row, 1988.Google Scholar
Nyad, Diana. 2004. The rise of the buff bunny. New York Times, August 15.Google Scholar
Parker, Rozsika, and Pollock, Griselda. 1981. Old mistresses: Women, art, and ideology. New York: Pantheon Books.Google Scholar
Prather, Maria. 1994. Willem de Kooning: Paintings. Washington, D.C.: National Gallery of Art; New Haven, Conn.: Yale University Press.Google Scholar
Sherman, Cindy. 2004. Cindy Sherman: Centerfolds. New York: Skarstedt Fine Art.Google Scholar
Siegel, Katy. 2000. Lisa Yuskavage by Lisa Yuskavage. Philadelphia: University of Pennsylvania Institute of Contemporary Art.Google Scholar
Solomon, Deborah. 2003. Mr. Bodacious: John Currin paints outrageous pictures of women and an even more outrageous portrait of art history, the art world, and himself. New York Times Magazine, November 16.Google Scholar
Tuana, Nancy. 1993. The less noble sex: Scientific, religious, and philosophical conceptions of woman's nature. Bloomington: Indiana University Press.Google Scholar
Tufts, Eleanor. 1974. Our hidden heritage: Five centuries of women artists. New York: Paddington Press.Google Scholar
Wood, MichaelCole, Bruce, and Gealt, Adelheid. 1989. Art of the Western world: From ancient Greece to post‐modernism. New York: Simon & Schuster.Google Scholar