Women artists: gender, ethnicity, origin and contemporary prices

Narratives about women artists usually point to the obstacles they face in the development of their artistic careers. In her article, the author proposes an analysis that concentrates on how a woman artist – Zofia Kulik – presented herself as the heroine of a successful story of emancipation in the series of works titled The Splendor of Myself (1997, 2015, 2017). The self-image she presents is paradoxical: we deal with both her ostentatious presence and her absence as her physical presence is hidden behind the gorgeous but extremely stiff dress. It corresponds with Kulik’s understanding of her success as directly related with the wealth of images and the mastery of composition.

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MULHERES ARTISTAS URBANAS: OPERAÇÕES DE RESISTÊNCIA COMO POÉTICA DE DIPNOICO / Urban women artists: resistance operations as poetic of dipnoic

arte e ensaios ◽

10.37235/ae.n40.2 ◽

2020 ◽

Vol 26 (40) ◽

pp. 17-29

Author(s):

Jo A-mi

Keyword(s):

Women Artists ◽

Urban Women ◽

Research Process

Neste artigo, lançarei mão do conceito de Resistência como uma rede de insurreições problematizada por mulheres artistas urbanas da cena de Fortaleza-CE. A categoria Resistência tornou-se uma borda temática apre(e)ndida a partir de narrativas dessas artistas (protagonistas de ações que passei a chamar de poéticas de dipnoico) durante processo de pesquisa que vem dialogando com discussões tecidas por Suely Rolnik (2018).Palavras-chave: Mulheres; Resistência; Insurreição; Narrativas; Poéticas.AbstractIn this article, I will use the concept of Resistance as a network of insurgencies problematized by women urban artists from the Fortaleza-CE scene. The Resistance category became a thematic differential learned and apprehended from the narratives of these artists (protagonists of actions that I started to call dipnoic poetics) during a research process that has been dialoguing with discussions made by Suely Rolnik (2018).Keywords: Women; Resistance; Insurrection; Narratives; Poetic.

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Courageous Souls: Kate Chopin's Women Artists

American Studies in Scandinavia ◽

10.22439/asca.v26i2.1457 ◽

1994 ◽

Vol 26 (2) ◽

pp. 96-112 ◽

Cited By ~ 1

Author(s):

K. J. Weatherford

Keyword(s):

Women Artists

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Urban specters

Environment and Planning D Society and Space ◽

10.1177/02637758211030286 ◽

2021 ◽

pp. 026377582110302

Author(s):

Asha Best ◽

Margaret M Ramírez

Keyword(s):

United States ◽

Black Women ◽

Urban Space ◽

Women Artists ◽

Social Life ◽

The United States ◽

Spatial Method ◽

Urban Futures ◽

Black Life ◽

The Relationship

In this piece, we take up haunting as a spatial method to consider what geography can learn from ghosts. Following Avery Gordon’s theorizations of haunting as a sociological method, a consideration of the spectral offers a means of reckoning with the shadows of social life that are not always readily apparent. Drawing upon art installations in Brooklyn, NY, White Shoes (2012–2016), and Oakland, CA, House/Full of BlackWomen (2015–present), we find that in both installations, Black women artists perform hauntings, threading geographies of race, sex, and speculation across past and present. We observe how these installations operate through spectacle, embodiment, and temporal disjuncture, illuminating how Black life and labor have been central to the construction of property and urban space in the United States. In what follows, we explore the following questions: what does haunting reveal about the relationship between property, personhood, and the urban in a time of racial banishment? And the second, how might we think of haunting as a mode of refusing displacement, banishment, and archival erasure as a way of imagining “livable” urban futures in which Black life is neither static nor obsolete?

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