Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

Author(s):  
Sunanda Rani ◽  
◽  
Dong Jining ◽  
Dhaneshwar Shah ◽  
◽  
...  

The manuscript focuses on the autobiographical artistic practice of women artists and feminist expression in visual art, particularly those women artists who use embroidery and textiles as mediums, techniques, processes, styles, subjects, and themes. Women artists often use a variety of unique materials and techniques to create artwork which are primarily related to them and show a feminist identity. The research explores the mediums, tools and techniques applied by women artists in their artworks and the reasons behind choosing that particular medium and methods. In addition, women artists when, where, and how these diverse creation strategies have been adopted and developed over time are examined and analysed with the help of earlier literature, articles, research papers, art exhibitions, and artworks created by women artists. This manuscript discusses the chronological development of embroidery and textiles in the context of women’s art practice, the efforts and achievements of the “Feminist Art Movement” and the cause and concept of “Entangled: Threads & Making”, a contemporary woman artist art exhibition at Turner. Embroidery and textiles are associated with women’s art practice; women artists used embroidery, needlework, and textiles as a powerful symbolic medium of expression and resistance against the male-dominated art society. They began to use feminist expressions, forms, and materials to present their new characteristics. Women artists use embroidery, textiles and needlework as feminist traditional materials and techniques, and continue to struggle to blend them with other new contemporary mediums.

2007 ◽  
Vol 32 (1) ◽  
pp. 5-10 ◽  
Author(s):  
Althea Greenan

When a group of women artists decided to organise their slides to inspire others to document themselves and raise the visibility of women’s art, they could not have known that several decades later those slides would still be together, forming the core of an internationally significant research resource. How did this idea of gathering together images transform a women’s art group – in the 1980s these were almost as common as book groups are today – into the Women’s Art Library/Make collection? Historically rooted in gender politics and the subsequent emergence of a radicalised women’s art practice and feminist art criticism, WAL/Make is an exciting ‘work in progress’. Now based in Goldsmiths, University of London it is being developed as a key special collection by the Library.


2020 ◽  
Vol 16 (3) ◽  
pp. 333-350 ◽  
Author(s):  
Gabriela Durán-Barraza

The purpose of the present study is to show how undergraduate art students developed a three-semester research project using art practice research as methodology during the years 2011‐12. They answered individual research questions through their artistic practices, presenting their results within an art exhibition and academic document. The research data shared in this article comprise observations of their research development, artistic diaries, art exhibitions, written research documents and post-project interviews. Findings indicate that such research experience allowed students to generate new knowledge through artistic practice, which often cannot be foreseen as it involves incontrollable material and people that cannot be accessed through other disciplines. It also gave them trans-cognitive research skills helping them to better understand themselves as artists and to develop complex works difficult to create otherwise.


Ikonotheka ◽  
2017 ◽  
Vol 26 ◽  
pp. 291-311
Author(s):  
Agata Jakubowska

In February of 1978 the exhibition Trzy kobiety. Ania Bednarczuk, Iza Gustowska, Krynia Piotrowska opened at the Bureau of Art Exhibitions in Poznań. It became a starting point for two cycles of exhibitions that have been organised practically until today: Odbicia (Gustowska’s and Piotrowska’s joint exhibitions) and Spotkania. The essay focuses on Spotkania, i.e. exhibitions at which Gustowska (initially with Piotrowska) presented the works of invited women artists. These exhibitions were Trzy kobiety (1978, Poznań), Sztuka kobiet (1980, Poznań), Spotkania – Obecność I (1987, Poznań), Spotkania – Obecność III (1992, Poznań), Presence IV – 6 Women (1994, Galeria La Coupole, Rennes) and Osiem dni tygodnia (2011, Szczecin). To consider them a cycle and to analyse them under the joint title of Spotkania is the author’s own interpretative approach based on the observation that, in their case, Izabella Gustowska’s actions comprise a consistent project based mainly on the recurrent gesture of creating an opportunity for women artists to meet – hence the word meetings – and to engage in a dialogue. Spotkania is the longest-lasting and most consistently carried out project enabling women artists to meet but, paradoxically, not intended to consolidate them. All of the exhibitions emphasised Gustowska’s certainty of essential closeness between women. This closeness was always characterised, very generally and indistinctly, as a kinship that becomes evident only when sought. An analysis of the exhibitions leads one to the conclusion that the combination of the conviction that women share essential similarities with an emphasis on their individuality and on the separateness of their artistic proposals, coupled with Gustowska’s distancing herself from feminism, are the reasons why Spotkania did not result in the emergence of any kind of community or in the undertaking of collective actions. The exhibitions remained as incidental meetings and their infl uence on the oeuvres of the women artists who participated in them is yet to be analysed.


Author(s):  
Wilson Yeung Chun Wai ◽  
Estefanía Salas Llopis

This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds. 


Author(s):  
Ewa Majewska

In her article, the author argues that based on Ewa Partum's artistic practice it is possible to speak about a specifically feminist strategy of the avant-garde. In the theory of the avant-garde, a move has been made from the heroic, masculine conceptualizations of art practice and resistance within it toward the non-heroic, weak, and contingent. A theory of weak avant-garde is a summary of these evolutions, inspired by the writings of, amongst others, Walter Benjamin, Jack Halberstam, Vaclav Havel.


2017 ◽  
Vol 1 (2) ◽  
pp. 265-283 ◽  
Author(s):  
Rhys Bevan Jones ◽  
Julia Thomas ◽  
Jamie Lewis ◽  
Simon Read ◽  
Ian Jones

This article examines multidisciplinary public engagement projects that bring together developments in psychiatric research and practice with visual art and its use of metaphor. The article focuses on the art exhibition Translation: From Bench to Brain , which was the basis for further collaborations, illustrating how the learning from the original event influenced subsequent projects. Combining art exhibitions with online documentation and resources, the projects explored not only medical and scientific themes, but also the wider social, cultural and ethical ramifications, specifically aspects of identity, risk and stigma. The activities demonstrate the value of a developmental approach to public engagement as a process, whereby projects build on previous activities and evolving multidisciplinary perspectives, networks and expertise.


Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.


1979 ◽  
Vol 1 (1) ◽  
pp. 21-35
Author(s):  
Tricia Davis ◽  
Phil Goodall

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