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Répercussion du mouvement féministe américain sur la production et critique d’art de 1968 à 1975 aux Etats-Unis

dinsdag, 20 maart, 2012 - 14:00
Campus: Brussels Humanities, Sciences & Engineering campus
Faculteit: Arts and Philosophy
D
2.01
Véronique Danneels
doctoraatsverdediging

This research analyses the impact of the American feminist movement on the art
production and the art critic, from the end of the 60fs to the mid 70fs.
The reasons and motivations developed by the feminists to emancipate women and
change society are exposed in an introductory chapter.
Seven case studies observe the repercussions of this project in the art world of New
York and Los Angeles. The importance of the political movement and its will to change
social and cultural structures is studied through several works by Louise Bourgeois,
Martha Rolser, Miriam Schapiro and Judy Chicago, Mierle Laderman Ukeles, Eleanor
Antin, Adrian Piper and Lynda Benglis.
Each singular work reveals the inspiration of the feminist thought expressed in new
themes and radical aesthetics. The simultaneity of the Womenfs Liberation movement
with the Civil Rights movement, the Vietnam War, the Watergate and the countercultural
movements emphasizes the impact of the new communication technologies.
Accessibility to information and its circulation marks the creation and development of
Conceptual Art, Process Art, Performance Art, Land Art and Video Art. These new trends
have been confronted to our selected art works and a feminist inquiry.
The permanent interrogations and innovations of art critics to translate and transmit
these news facts are crossing the text from the beginning to the end; although art critic
hasnft been treated neither analyzed as a specific subject.

The research is constructed in two different parts.The first part analyses the feminist paradigms and elaborates the ghouseholdh as a
theme by itself and as a place of enunciation. Specific works by Bourgeois, Rosler,
Chicago and Schapiro, Ukeles, demonstrate the artistic, the political, the pedagogical and
the social strategies developed by feminists on the art scene.
These sustained expansions articulate the second part of the PhD.

Here the presentation and representations of the female body are studied through
specific works of Antin, Piper and Benglis. The study of these works opened an
unexpected inquiry about visual narration. The double thematic gbody and narrationh of
this second part, is grounded in studies of the nude, the naked, body]works, gaze,
photography and the inescapable importance of magazines, movies and video.

Conclusion
While the subject of research reveals an origin of thought and practice in art under the
influence of feminism in a framed historical and geographical context, it far exceeds the
given limits. The constructive and critical questions about gender, sexual identity, new
technologies, narratives, care, introduced by the gsecond waveh feminist movement
continue to elaborate theories to read or reread art history as they take part in the
actual way of thinking and producing art and culture.