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Feminist Art Artworks

Feminist Art Collage

Started: 1960s

Artworks and Artists of Feminist Art

The below artworks are the most important in Feminist Art - that both overview the major ideas of the movement, and highlight the greatest achievements by each artist in Feminist Art. Don't forget to visit the artist overview pages of the artists that interest you.

Some Living Women Artists/Last Supper (1972)

By: Mary Beth Edelson

Mary Beth Edelson used an image of Leonardo da Vinci's famous mural as the base of this collage to which she affixed the heads of notable female artists in place of the original's men. Christ was covered with a photo of Georgia O'Keeffe. Aside from challenging the painting's male-only club, it also confronted the subordination of women often found in religion. The piece quickly became one of those most iconic images of Feminist Art and reinforced the movement's desire to negate women's absence from much historical documentation.

Womanhouse (1972)

Womanhouse (1972)

By: Judy Chicago and Miriam Schapiro

The installation Womanhouse encompassed an entire house in residential Hollywood organized by Judy Chicago and Miriam Schapiro as the culmination of the Feminist Art Program (FAP) at California Institute for the Arts in 1972. The twenty-one all-female students first renovated the house, which had been previously marked for demolition, then installed site-specific art environments within the interior spaces that ranged from the sculptural figure of a woman trapped within a linen closet to the kitchen where walls and ceiling were covered with fried eggs that morphed into breasts. Many of the artists also created performances that took place within Womanhouse to further address the relationship between women and the home.

The entire collaborative piece was about a woman's reclaiming of domestic space from one in which she was positioned as merely a wife and mother to one in which she was seen as a fully expressive being unconfined by gender assignment. This challenged traditional female roles and gave women a new realm to present their views within a thoroughly integrated context of art and life.

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ArtForum Advertisement (1974)

By: Lynda Benglis

In 1974, when artist Lynda Benglis was feeling underrepresented in the male-heavy art community, she reacted by creating a series of advertisements placed in magazines that took critical stabs at traditional depictions of women in the media. Her most famous ad was run in ArtForum in which she promoted her upcoming show at Paula Cooper Gallery by posing nude, holding a double-headed dildo, with sunglasses covering her eyes. She paid $3,000 for the ad, a small price for something that would establish her as a major player in Feminist art history. Also, by paying for the ad, Benglis was able to assure her voice would be heard without editing or censorship. She later cast a series of sculptures of the dildo, bent into a smile, a cheeky "f*** you" to the male-dominated art institutions.

Anatomy of a Kimono (1974)

By: Miriam Schapiro

Anatomy of a Kimono is one of many "femmages" Schapiro created, starting in the mid-1970s, and is based on the patterns of Japanese kimonos, fans, and robes. Schapiro used the term femmage to describe works that combined collage, painting, fabric, embroidery, and other "high art" and "decorative art" techniques, simultaneously highlighting women's relation to those materials and processes.

Here, the artist collected donated handkerchiefs while touring the country and cobbled them together with other fabrics to form ten large panels filled with Japanese-inspired shapes. The work adopts the monumental scale of Abstract Expressionist canvases, but by using fabric instead of paint, Schapiro elevates a utilitarian and feminine material to the realm of "high art."

Semiotics of the Kitchen (1975)

By: Martha Rosler

Now one of the canonical works of feminist video art, Semiotics of the Kitchen examines women's bondage within the context of home through the trope of the televised cooking show. In it, we see Rosler as a self-described "anti-Julia Child" as she picks up an alphabetized stream of kitchen utensils (some strange and antiquated) and gives them random names before violently demonstrating their use with pantomime. The woman and her implements disrupt the familiar system of everyday meanings - the safely understood signs of food production erupt into anger. In listing the kitchen implements, states Rosler, "when the woman speaks, she names her own oppression." She, like many feminist artists of the 1970s, wished to interrupt and change the preconceived notions about women's roles within the home, and how these were represented in mass media.

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Interior Scroll (1975)

By: Carolee Schneemann

At a 1975 exhibition called "Women Here and Now", Carolee Schneemann performed the unforgettable Interior Scroll. For the piece, she undressed in front of an audience until she was wearing only an apron. Then, while reading from her book Cézanne, She was a Great Painter (1975), she began to paint her body. Afterwards, she stripped completely and shockingly began to pull a scroll of paper from her vagina while reading its contents aloud. The text was inspired by a recording she had made of a filmmaker talking about women and how they were unable to access certain traits such as logic and rationality, which he described as specifically male. He concluded that women were only capable of stereotypical attributes such as intuition, emotion, etc. By pulling the scroll from literally inside her own body, Schneemann made the point that only a woman could truly represent the female experience or speak on its behalf - anything else was hearsay. By placing her vagina front and center, and using it to birth a provocative message, she proved no longer interested in suppressing the authentic feminine, or asking permission to fully inhabit her female sexuality or reality.

The Dinner Party (1974-1979)

The Dinner Party (1974-1979)

By: Judy Chicago

The Dinner Party is one of the most well-known pieces of Feminist art in existence and is permanently housed at the Center for Feminist Art at the Brooklyn Museum. The installation consists of a large banquet table with place settings for thirty-nine notable women from history and mythology. The settings have gold ceramic chalices and porcelain plates painted with butterfly- and vulva-inspired designs representing Mother Nature, the vagina, and the life-giving properties of being female. By doing this, Chicago offered unabashed femininity on the plate rather than a meal cooked by a woman whose identity would be cloaked passively behind her food offering. In addition to the thirty-nine settings, there are the names of 999 other women painted on the tiles below the triangular table.

The Dinner Party participates in the feminist revision of history, initiated during the 1970s, in which artists worked to rediscover lost role models for women, rewriting the past that had previously only included male voices. In the combination of intricately wrought textiles, tile, and porcelain, Chicago reclaimed the realm of "high art" to include what had traditionally been relegated to the lower status of "women's work."

In Mourning and In Rage (1977)

By: Suzanne Lacy, Leslie Labowitz, and Bia Lowe

Organized by artists Suzanne Lacy and Leslie Labowitz, In Mourning and In Rage was a powerful example of Feminist Art's use of current events to broaden social awareness around women's issues and affect real change. In 1977 the news was filled with stories of the "Hillside Strangler" - a particularly chilling time in Los Angeles in which a serial killer was strangling women and dumping their bodies on roadsides. A climate of fear and superstition arose amongst the female population as tales of the seemingly random killings dominated the media along with personal glimpses into the lives of the victims. Lacy and Labowitz took the opportunity to engage the community during this time by putting the tragic events through the lens of a feminist analysis of violence. Along with participants from the Woman's Building, the Rape Hotline Alliance, and the City Council they orchestrated a public demonstration of rage and grief in which a motorcade of sixty women followed a hearse to City Hall. Once there, ten women robed in black climbed from the hearse to the front steps and each announced a form of violence against women to which the women in attendance replied loudly, "In memory of our sisters, we fight back!" The performance was largely covered in the press and even spurred the Rape Hotline Alliance to start self-defense classes.

Untitled (I shop therefore I am) (1987)

Untitled (I shop therefore I am) (1987)

By: Barbara Kruger

This piece is characteristic of Kruger's early work, depicting a phrase placed over a photographic image from a newspaper or magazine. Kruger first worked in magazine advertising, and used her graphic design expertise in her art. The slogan in this work refers to images of women in the media, specifically product advertisements designed for women, which are usually created by men. It is a reminder that most of the media that is geared toward women is based on men's assumptions about women's desires, lives, and ideals, interrogating the belief that women only need material objects to feel happy and that men can keep them under their control by those means. Kruger's work is accessible and direct, and was incredibly influential among the artists of the 1980s.



By: The Guerrilla Girls

This is one of the Guerrilla Girls' early posters, and exemplifies their strategy of using humor to defuse and break down discrimination and prejudice within the art world. Adopting a tongue-in-cheek tone, they list the "advantages" that still faced women artists in the late 1980s, like "Knowing your career might pick up after you're eighty."

Guerilla Girl "Lee Krasner" stated, "The world of High Art, the kind that gets into museums and history books, is run by a very small group of people. Our posters have proved over and over again that these people, no matter how smart or good-intentioned, have been biased against women and artists of color." This poster reflects how pervasive that bias was in 1989, despite almost two decades of feminist activism. The fact that the Guerrilla Girls are still making posters and appearing globally implies that this problem persists to this day.

Related Movements and Major Works

Yard (1961)

Movement: Happenings (Read Movement Overview, History, and Artworks pages)

Artist: Allan Kaprow (Read Full Artist Overview, Biography, and Artworks pages)

Yard by Kaprow involved the random scattering and piling of tires over the floor and an invitation to visitors to climb over them. This piece was supposedly in response to Jackson Pollock's "drip" paintings: the incorporation of chance as a mainstay of the work, but with a certain amount of control left to the artist. Just as Pollock had a certain amount of power over his drip paintings, aesthetics were still very much subject to chance. Here Kaprow used the tires as Pollock used his paint. The result- a haphazard pile of tires nevertheless circumscribed into a semblance of compositional order- is a three-dimensional translation of Pollock's practice. Kaprow's pieces often involved materials from everyday life, including people; Kaprow stated, "Life is much more interesting than art." Yard, like many Happenings, has been recreated several times since Kaprow's initial installation, and each time a unique artwork is produced.

One and Three Chairs (1965)

Movement: Conceptual Art (Read Movement Overview, History, and Artworks pages)

Artist: Joseph Kosuth (Read Full Artist Overview, Biography, and Artworks pages)

A physical chair sits between a scale photograph of a chair and a printed definition of the word "chair." Emblematic of Conceptual art, One and Three Chairs makes people question what constitutes the "chair" - the physical object, the idea, the photograph, or a combination of all three. Joseph Kosuth once wrote, "The art I call conceptual is such because it is based on an inquiry into the nature of art. Thus, it is...a thinking out of all the implications, of all aspects of the concept 'art.'" One and Three Chairs denies the hierarchical distinction between an object and a representation, just as it implies a conceptual work of art can be object or representation in its various forms. This work harks back to and also extends the kind of inquiry into the presumed priority of object over representation that had been earlier proposed by the Surrealist René Magritte in his Treachery of Images (1928-9), with its image of a pipe over the inscription "Ceci n'est pas un pipe" (This is not a pipe).

"Untitled" (Loverboy) (1989)

Artist: Felix Gonzalez-Torres (Read Full Artist Overview, Biography, and Artworks pages)

The work of the Cuban artist Felix Gonzalez-Torres addresses many postmodernism issues including originality, the importance of the viewer, the concern with minority identities, and the ephemeral nature of art. "Untitled" (Loverboy), is a stack of paper, from which visitors are encouraged to take a piece. The installation instructions give specific directions to maintain the stack at a certain weight. While the pile shrinks on a daily basis as visitors - with some trepidation - take paper from the pile, it is restored to its full size each morning. Thus, there is no solid, commoditized, always-existing work of art in the traditional sense; it is reconstructed at each installation site with new paper, and the entire piece reconstituted. The work thus questions originality and authorship, while involving the viewer very profoundly in the meaning of the work, which is about the death of Gonzalez-Torres' lover, Ross, from AIDS. As the weight of the pile of paper shrinks each day, this diminution represents Ross's wasting away from the AIDS virus, which he died from two years after the work was first shown. Thus the piece also deals with issues important to the LGBT community - a minority group of people whose rights were just beginning to be recognized.

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