Feminism is a collection of social theories and political practices in open criticism of social history, past and present, driven mainly by the female experience. In general, feminists made a critique of social inequality between women and men, and proclaimed the promotion of women's rights. Feminist theories question the relationship between gender, sexuality and the social, political and economic.
Although many feminist leaders have been women, not all women are feminists and not all those feminists are women. Some feminists believe that men should not take leadership positions within the movement, but most accept the support of men.
feminism as a social movement was mainly visible as a movement in Western societies in the twentieth century. Is not associated with any group, practice or particular historical event. It is created from the consciousness of the inequalities caused by gender and the pursuit of social justice. There are various forms of feminism as a theory, and practical, as consciousness, as an international social movement, national and local levels.
Some of the different feminisms are cultural feminism, radical feminism, ecofeminism, the anarcho-feminist, the difference feminism, Marxist feminism, separatist feminism, feminist philosophy, Christian feminism, Islamic feminism, feminism pro-life and critical feminism.
because I want to address the issue of women fatale from all points of view of life but with particular emphasis on the art begin this new section talking about some artists and groups
Dorothea Lange American
1895 - 1965
The camera is an instrument that teaches people how to see without the camera. " (Dorothea Lange)
American photographer, who contracted polio in childhood and left the typical sequelae in the leg, which is said to have marked his life and work. Made social documentary photography and with deep human feeling free of sentimentality. Although
began studying at the Clarence White School, pictoral markedly and has since opened a studio in San Francisco, leaving the street as a reporter marked definitely would be the hallmarks of his work.
His best known work is developed in the 30's, years of depression.
A deep crisis plaguing the country and thousands of peasants had no choice but to abandon their homes in search of a promised land.
His gaze avoids sentimentality and drama, comes from a deep human feeling and social awareness coupled with a tireless struggle for equality of women.
GUERRRILLA GIRLS
The Guerrilla Girls were a group of feminist artists. The group was born in New York in 1984 and named so by using guerrilla tactics to promote the presence of women in art. His first job was to deploy posters on the streets of New York to report the gender and racial imbalance of the artists represented in galleries and museums. Over the years, they expanded their activism to Hollywood and film industry, popular culture, gender stereotypes and corruption in the world of art.
The original group members always wore a gorilla mask and, occasionally, short skirts and stockings re network. They commented that no one in their environment (or families or companions or husbands) knew his identity, with the exception, said ironically, from their hair. And the truth is that, in addition to his mysterious identity is unknown how many people formed their group. Anyway, the Guerrilla Girls were imitations and American partners in France and in England.
The Guerrilla Girls invented a unique combination of text, graphical content and fast that presents the views of feminists with sassy humor and fun. As a result, many people who originally did not agree with the positions of the Guerrilla Girls are carried by the hook funny, reflect, and often change their way of thinking. Guerrilla Girls to rehabilitate the word with "f" (feminism) so that people who believe in feminist ideas (equal opportunities, to gender discrimination, equal access to education, education about reproductive rights and human rights for women) return to call itself "feminist." Currently, the Guerilla Girls no longer exist in its original format. Today, there are three groups that are called and call themselves and their successors. One is theatrical and travels across the United States to denounce the lack of roles for actresses in both film and stage. The other two are visual arts groups and also denounce the marginalization of women in art.
Critics have labeled the Guerrilla Girls of hypocrites and social activism served for purely propaganda. According to critics, although the purpose of the campaigns of the Guerrilla Girls was to draw attention to the art made by women, their true purpose served the privileged class and class entertainer. They were also blamed for having ignored women artists who have misogyny, patriarchy or prison in other parts of the world, focusing only on its own entry in the art market. For that reason, the Guerilla Girls today place more emphasis on promoting global campaign against violence against women, racial equality, war or police dictatorships.
A little more information out of another article
The key word in all these reflections is the irony. Gone is the image the angry feminist, as affected by the criticism, that figure that wanted to discredit anti-feminist discourses veiled to get that independence, in pursuit not arrive too far. As Amelia Jones says, the feminist is an enemy threatening the conservative status, the figure of woman is scary self:
"The recent revival of this fantasy patriarchal right under the guise of" family values \u200b\u200b"is a symptom of anxiety mass of the patriarchal system, indicating a reaction formation against the threatening incursions of women in the workforce and, more recently, in the political arena "(1).
The irony here is turned into a weapon, double its effectiveness by the directness of the message, and its radicalism is complemented by the use of visually striking images. This combination leaves no possible argument to the institution receiving the attack. It is no coincidence that irony and sarcasm were usually associated with feminine identity. If humor has been present in what we call postmodernism, has been in relation to women when used with more emphasis. Jo Anna Isaak talks about women in their ability to live and work with the concept of "jouissance," the excess, the enjoyment of going beyond the established or reach meaningless; laughter as revolutionary strategy orgasmic, the relationship with the unconscious (2).
Irony in a binding, the same way that their activity has grown to an international level, have taken their criticism and demands beyond the realm of art. Other posters allude to other socially excluded for other reasons other than race or gender, posters like the question:
What is the difference between a prisoner of war and a homeless person? Response. Under the Geneva Convention, a prisoner of war has the right to food, shelter and medical care.
His art is conceived as a social weapon, looking for the effect blow. As one of its slogans said: We strike next, undertake to bring the light on discriminatory principles in a communication to the public level, dialogue with reality. Hence the use of the poster and photography, both techniques retain some autonomy from the traditional patterns of art that gives them a proper character for the political. At the same time it is a means to get to reach a larger audience to participate in the urban environment, leading to questioning from the root of the problem from the very place where it arises. Guerrilla Girls are so aware of all that invade the city with their posters during the hours nocturnasGuerrilla Girls are fighting point in an evolution that began with the work of isolated women gradually have come together to fight what has been called "the problem that has no name" (4), fighting for their own space and not imposed by social pressures, and growing solidarity also seeking non-discrimination against marginalized groups. If the movement started from internal positions collected by an empathy that pushed them to work collectively, Guerrilla Girls make up the time to make that strong public presence, in his words: We Could Be Anyone, We Are Everywhere.
Signed: Guerrilla Girls by Sara Rivera
http://www.babab.com/no12/guerrilla.htm
Here is a piece of text taken from a website in which the guerrilla girls show what they are today
Guerrilla Girls: artivism and feminism
www.guerrillagirls.com Tuesday 5 October 2004
Since 1985 the Guerrilla Girls are reinventing the "F of feminism." Still strong in the XXI century, we are a group of anonymous women who take their names from dead women artists as pseudonyms and appear in public wearing gorilla masks. In 19 years we have produced over 100 posters, stickers, books, print projects, and actions that reveal the sexism and racism in politics, the world of art, film and culture. We use humor to convey information, provoke discussion and show that feminists can be funny. We wear gorilla masks to focus on issues rather than our personalities. We declare the feminist equivalent of the male-dominated tradition of "benefactors" as Robin Hood, Batman and Lone Ranger. Our work has toured the world with beneficial spirits that we are proud to have as supporters. The mystery surrounding our identities has attracted attention. We can be anyone, we are everywhere ...
Here are some examples of their work.
ESTROGEN BOMB: THE GUERRILLA GIRLS URGE IMMEDIATELY TO USE OUR NEW BIOLOGICAL WEAPON
Estrogen Bomb's face, through history have been men who have become warriors declared war on others and fought to the death. So you can say that war has a biological origin: the human race is the victim of a long Testosterone Poisoning Toxic. This deadly infection hits men everywhere: it makes them think they are right and leads to physical violence in the form of combat, terrorism, domestic abuse ...
For years, the Guerrilla Girls have been proposing an antidote against this deadly infection ... gun mass education that the world needs ... Estrogen Bomb! When you drop into a conflict area believe that higher estrogen levels cause the fighters throw their arms, give a hug to apologize and offer to clean up the mess made. We insist on the immediate deployment of Estrogen Bomb in Afghanistan and Washington! Please comuníquennos any other place where it should be released.
Nancy Spero Nancy Spero Poetica and subversive
Macba
This year the key figures delas review a feminist art
"No question that men want, because everyone knows not ask, not because men want it all, but because men already have everything, and when women demand the men say something but what do women want? Or that it happen to women? Nancy Spero (Cleveland Ohio 1926)
pioneer of feminist art and critical polemic on the scene in New York of the 60 and 90 carries over half a century defiant response to that question through a work forceful, sharp and poetic meeting at the MACBA was being or great feast for the intellect and senses Dissidances Nancy Spero is a retrospective co-produced with the Reina Sofia where he will be in October and later viajarñá the CAAC Sevilla (January to March 2009)
From the Vietnam War in Iraq to sample all his career runs radically counter
Located faced in his early to his dual woman and figurative artist. In the New York scene, dominated by men and with a clear majority of abstraction
"
stumped the forefront of the newspaper article July 3, 2008
American Artist. He studied art at the Buffalo State College in New York between 1972 and 1976, with special attention to photography. Until 1986 only photographic self-portraits done with trying to parody the stereotypical women's issues: standing in different scenarios, their black and white images and small size give way to others in color and larger format. In them, the humor ranges from silent introspection to the provocative sensuality, sparking the horror and revulsion in the late eighties. Their forms and messages near ironic, assimilate their own visual tyranny of television, advertising and magazines, keeping a certain likeness to the work of Longo and Prince. The shift to an increasingly large format parallels the fragmentation of representation Sherman's figure as a protagonist, extending some songs to violecia, political criticism or eroticism. Both the MoMA and the Tate Modern in London, have a wide repertoire of his work
The beginning of his career in the 70's, where they can see the artist's initial explorations of identity around the series of works femeninadestacar that became known to Sherman Untitled Film Stills entitled. The
Centrefolds "(1981), created from a custom of Artforum and including color photos and horizontal format inspired by the aesthetics of the displays of pornographic magazines, and" Fashion Photography ", developed in 80 and centered in the fashion world. An important milestone in its evolution marks the series "History Portraits" held between 1989 and 1990, and composed and framed color photographs, which revisits the great female archetypes of Western art history, from La Fornarina Judith, from Salome Mary. In recent years, the bland photo studios bill has served as research material in the series "Portraits", while "Clowns" (2003), created from a custom for the British edition of Vogue magazine has explored the potential scary clown, adding to the path taken by other twentieth century artists such as Bruce Nauman. About funds acid colors, almost psychedelic, processed digitally, cut these troubling clowns, frightening some of them strongly, as it teaches us Untitled teeth 411. The clown as a symbol of slippage and hysteria, sounds and colors racy, uncertainty that lies behind the makeup ... is the latest venture of Cindy Sherman. Your identity appears thinner than ever after these masks halfway between laughter and horror.
Although his first training as an artist was in the field of painting, photography soon attracted his attention, eventually becoming a key figure in this area for their particular way to develop new possibilities. But the fact that Sherman used her own body as a vehicle to introduce different characters, invent and interpret roles, and that his role model combined with that of film director, also opens a wide range of creative options to the viewer will mean that the boundaries are blurred and expanded: the idea of \u200b\u200bposing is confused with looking at the object with the subject
CINDY IN STYLE Shermann
THIS WOULD THAT ALSO AFTER JAPANESE CAN RELATE TO EXPLAIN WHAT THE GOTHIC LOLITAS Y HARUKUS
Tomoko Sawada,
a series of images where, in perpetual metamorphosis, the style of Cindy Sherman, takes on the appearance of hundreds of Japanese women of different ages and social strata.
His work is open to various interpretations and raises psychological and sociological, naturally and without bias, the role of women in Japan's society today, the possibility of them from achieving their own identity and individual and how their clothing can strengthen their social group membership to which they belong or, conversely, contribute to their identification. Sawada faces the classical genre of portraiture from a very personal perspective, refreshingly original, although based on the compositions of Morimura, celebrated creator to incorporate their image to masterpieces of Western culture. No judge or social reporting practices in Japan, but it makes the viewer will notice them and inclined to reflection. His photographic works
graze the boundary between the reflection of the real and mounting, at the same time witness the invention of a new language that destroys the traditional classification of the arts, it is not the photographer who captured images, but subject to the same. (On an exhibition entitled Identity which was made in Barcelona at the Fundacion Miro in the cycle Kawaii! Japan now
current Japanese youth dressed extravagantly and dream of getting products estate, in an attempt to assert an identity that draws on new standards, models and references. Tomoko Sawada questions this phenomenon in photographic series in which she herself, in perpetual metamorphosis, takes on the appearance of hundreds of Japanese girls.
twenty-two years, Tomoko Sawada made one of his first series: ID 400 (1999). A hundred photographs of passport size black and white: good girls and naughty girls, classic or rolled, thick eyebrows and shaved ... in which she provided her, was transformed on. A series done with very limited technical means: the photo booth in a gas station. After passport photos, Sawada explored opposite: the group photograph with a series of photos of class, in whose image all the girls, dressed in uniform, were also itself (School Days, 2006). Made with a computer, this series raises the individual's place within the group, originality between uniformity and social value of the first mold is, in Japan the school.
not judge Tomoko Sawada Japanese social practices, not the complaint, but it makes the viewer repair them. Thus, in Omiai (2001), focuses on the custom, still in force, the arranged marriage (10% of marriages since 1995, a 70% fifty years ago.) The parents of the girl prepared a book, like the models in the study of a professional photographer, in order to present to the future bride posing dressed for any reason to potential suitors ... Tomoko Sawada is dressed in traditional kimono jacket suits the Western way, as a professional woman, to portray these girls posing marriage candidates, sensible, to achieve the ideal husband.
Fashion victims and new standards ...
The current Japanese girls belong, however, a much more emancipated times, as reflected in the series Cover (2004), presented at the Fundació Joan Miró. Tomoko Sawada is in it with the appearance of youth wander through the streets of Shibuya. These girls compete in Tokyo extravagance and originality: fluorescent colors, faux fur coats in acid colors, very short skirts and high platforms that make up a striking look that highlights the search for identity and the changing role of women in Japanese society. In addition to follow a dress code, it is also about changing the image to fit the clichés of the magazine covers, faded blonde hair, overly tanned complexion, make a mask exacerbated that build social and creating common identity. Like a contemporary interpretation of the mask it were, the practice may seem a response from the subculture of Japanese tradition, where the mask is very present, especially in the Noh theater. Appearance and reality seem to share the same essence. Moreover, the photographic work touches, in itself, the boundary between the reflection of the real and mounting, as evidenced by the entire production of Tomoko Sawada. The work of this artist invents a new language that destroys the traditional classification of artistic practices: a photographer who does photos (the images are taken in a studio with the help of a photographer).
Kawaii Gothic and
exposure to in the Espai 13 at the Fundació Joan Miró, Tomoko Sawada has created a new series of photographs, Decoration, which is interested in a style of dress which is located mainly in the neighborhood of Harajuku, Tokyo: that of Gothic Lolitas. It is characterized by overlapping with lace petticoats, boots with laces, corsets, black leather or vinyl, hair in curls or ringlets. Every Sunday, Gothloli girls come together at the end of Takeshita Dori, a famous street in Tokyo. The girls aspire to look like porcelain dolls and try to find the stance when the assault Kawaii objectives of photographers, amateur or professional. Rather than viewing it as a costume-cosplay likely to be in meetings or festivals sleeve, the Gothic Lolita style is in Japanese cities, especially in Osaka. This trend emerged in 1998, popularized in early 2000 with the onset of different clothing brands. One of the best known, Baby the Stars Shine, has put its collections available to Tomoko Sawada for this new series of photographs. In addition to this surprising fashion, the artist explores the issue of uniformity and further carries the idea of \u200b\u200bidentity, likeness and individuality in all his work plans. Tomoko Sawada was fascinated by this practice and tried to find a way to address
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