ART/GENDER:ART HISTORY AND FEMINIST CRITISM

Compiled by Ahu Antmen, the articles written in this book by feminist critics state how the history of art is shaped according to a hegemonic masculine point of view in a patriarchal society and the activist struggle that is given in order to change this point of view. In the introduction part of th...

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Autor principal:	İpek KROM
Formato:	article
Lenguaje:	DE EN FR TR
Publicado:	Fırat University 2019
Materias:	- Social Sciences H Social sciences (General) H1-99
Acceso en línea:	https://doaj.org/article/d62d075b6ad54714b3ff71cda7a8fd16
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spelling	oai:doaj.org-article:d62d075b6ad54714b3ff71cda7a8fd162021-11-24T09:20:58ZART/GENDER:ART HISTORY AND FEMINIST CRITISM2148-416310.9761/JASSS2551https://doaj.org/article/d62d075b6ad54714b3ff71cda7a8fd162019-08-01T00:00:00Zhttps://jasstudies.com/index.jsp?mod=tammetin&makaleadi=1109301418_9-Yrd.%20Do%C3%A7.%20Dr.%20%C4%B0pek%20KROM.pdf&key=27233https://doaj.org/toc/2148-4163Compiled by Ahu Antmen, the articles written in this book by feminist critics state how the history of art is shaped according to a hegemonic masculine point of view in a patriarchal society and the activist struggle that is given in order to change this point of view. In the introduction part of the book the actions taken by the American feminist artist group Guerilla Girls, who came together to give an end to the conventional frames of the art world in order to visualize the discrimination in art are discussed. In the second part of the book the article of Linda Nochlin called “Why Have There Been No Great Female Artists?” is given place. In the third part Nanette Salomon’s articles of “The Art Historical Canon” & “Sins of Omission” take place which offer new strategies to make the so called ‘normal’ compilations dubious. In the fourth part the article of Griselda Pollock called “Modernity and the Spaces of Femininity” is given place which offers a critique that will transform the opinion towards the patriarchal art. In the fifth part the article of Judith Barry and Sandy Flitterman-Lewi, “Textual Strategies and the Politics of Art making”, is published which discusses the art of women. In the sixth part Marry Kelly’s article called “Desiring Images/ Imaging Desire” takes place, which criticizes reducing woman body to an object of desire. In the seventh part Antmen gives place to Laura Mulvey’s “Visual Pleasure and Narrative Cinema” article which brings a inquisitorial and critical view to the art. In the last part Amelia Jones’ article, “Body Art: Performing the Subject”, takes place which focuses on the performance art that transfigures woman body. When we adapt the critical feminist point of view regarding art history to the advertising art similarities are observed among the profile of women images. In the article the women images in the advertisements will also be evaluated from the critical feminist point of view.İpek KROMFırat Universityarticle-Social SciencesHSocial sciences (General)H1-99DEENFRTRJournal of Academic Social Science Studies , Vol 7, Iss 29, Pp 125-137 (2019)
institution	DOAJ
collection	DOAJ
language	DE EN FR TR
topic	- Social Sciences H Social sciences (General) H1-99
spellingShingle	- Social Sciences H Social sciences (General) H1-99 İpek KROM ART/GENDER:ART HISTORY AND FEMINIST CRITISM
description	Compiled by Ahu Antmen, the articles written in this book by feminist critics state how the history of art is shaped according to a hegemonic masculine point of view in a patriarchal society and the activist struggle that is given in order to change this point of view. In the introduction part of the book the actions taken by the American feminist artist group Guerilla Girls, who came together to give an end to the conventional frames of the art world in order to visualize the discrimination in art are discussed. In the second part of the book the article of Linda Nochlin called “Why Have There Been No Great Female Artists?” is given place. In the third part Nanette Salomon’s articles of “The Art Historical Canon” & “Sins of Omission” take place which offer new strategies to make the so called ‘normal’ compilations dubious. In the fourth part the article of Griselda Pollock called “Modernity and the Spaces of Femininity” is given place which offers a critique that will transform the opinion towards the patriarchal art. In the fifth part the article of Judith Barry and Sandy Flitterman-Lewi, “Textual Strategies and the Politics of Art making”, is published which discusses the art of women. In the sixth part Marry Kelly’s article called “Desiring Images/ Imaging Desire” takes place, which criticizes reducing woman body to an object of desire. In the seventh part Antmen gives place to Laura Mulvey’s “Visual Pleasure and Narrative Cinema” article which brings a inquisitorial and critical view to the art. In the last part Amelia Jones’ article, “Body Art: Performing the Subject”, takes place which focuses on the performance art that transfigures woman body. When we adapt the critical feminist point of view regarding art history to the advertising art similarities are observed among the profile of women images. In the article the women images in the advertisements will also be evaluated from the critical feminist point of view.
format	article
author	İpek KROM
author_facet	İpek KROM
author_sort	İpek KROM
title	ART/GENDER:ART HISTORY AND FEMINIST CRITISM
title_short	ART/GENDER:ART HISTORY AND FEMINIST CRITISM
title_full	ART/GENDER:ART HISTORY AND FEMINIST CRITISM
title_fullStr	ART/GENDER:ART HISTORY AND FEMINIST CRITISM
title_full_unstemmed	ART/GENDER:ART HISTORY AND FEMINIST CRITISM
title_sort	art/gender:art history and feminist critism
publisher	Fırat University
publishDate	2019
url	https://doaj.org/article/d62d075b6ad54714b3ff71cda7a8fd16
work_keys_str_mv	AT ipekkrom artgenderarthistoryandfeministcritism
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ART/GENDER:ART HISTORY AND FEMINIST CRITISM

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