XX Art By female artists 2 Meret Oppenheim

XX Art By female artists 2

Meret Oppenheim Le Dejeuner en Fourrure, 1936 (Luncheon on fur) NY, The Museum of Modern Art (Erotique Voilée, Man Ray, 1933)

Maria Cassat

Frida Khalo Frida Kahlo (1910 - 1954) Self-Portrait with Thorn Necklace and Hummingbird (1940)

Frida Khalo. Antecedents Cup with a hummingbird Mixtec Zaachila, State of Oaxaca Clay figurine Lady from the Mexican region of Oxaca. She wears the traditional huipil and big headdress Made of fabric braided with her hair, flowers and fruits

Frida Khalo. Antecedents Sculpture of the wind deity Mexica (Aztec) Late Post-Classic (1325 -1521 A. D. ) Mexico City Mexica (Aztec) Late Post-Classic (1325 -1521 A. D. ) Texcoco, State of Mexico. Quetzalcóatl as Ehécatl, the wind deity. (monkey shape)

Frida Khalo. Antecedents Incense burners Masked face. With nose ornament and earspools Quetzalpopolotl (the Obsidian Butterfly) Butterfly shape. Goddess attribute. Symbolizes transformation

Georgia O'Keeffe White Trumpet Flower 1932 Georgia O'Keeffe approached her subjects, whether buildings or flowers, landscapes or bones, by intuitively magnifying their shapes and simplifying their details to underscore their essential beauty.

Georgia O'Keeffe Black Iris 1926 Iris 1929 (Dark Iris 2 1929)

Georgia O'Keeffe Cow's Skull With Calico Roses 1931

Georgia O'Keeffe Yellow Hickory Leaves With Daisy 1928

Georgia O'Keeffe "The Gray Line"

Georgia O'Keeffe Jack in pulpit

Georgia O'Keeffe Blue and green Music Jack in pulpit Music, Pink and Blue II

Georgia O'Keeffe Pelvis with moon-1943 Horse skull

Georgia O'Keeffe Red and rose Black cross

Georgia O'Keeffe Small purple hulls Dark place

Georgia O'Keeffe Lawrence Tree, 1929 oil on canvas 23 x 31 cm Wadsworth Atheneum Portraiture by Armenian photographer Yousuf Karsh

Louise Bourgeois. Invests INANIMATE OBJECTS with HUMAN QUALITIES by enacting a drama in space. Cell, (You better grow up) 1993. Installation. Mirrors, Glass, marble, wood, metal. Courtesy Robert Miller Gallery, New York

Ana Mendieta Silhouette works. Riverbed Silueta Works in Mexico 1973 -1977 The Museum of Contemporary Art, Los Angeles the Estate of Ana Mendieta and Galerie Lelong, New York

Janine Antoni . vaca Slumber At The Barn, 2002 Wanås Fundation, Sweden

Rebecca Horn. Installations The moon, the kid and the Anarquist river

Cindy Sherman Untitled #153 1985 Untitled, #112, 1982. Color photograph, 45 1/2 x 30 inches. Artist’s proof 1/2. Solomon R. Guggenheim Museum,

Kara Walker Contrast between Beautiful, detailed rendering__decided sense of Sexual, murderous menace. The silhouette. Life-size Cut outs and adhesive on wall. Black and White. Creation of Southern Iconography. From Newspaper’s vignettes, satirical prints and her imagination. Master/slave narrative

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling Coming to Jones Road: Under A Blood Red Sky, 2000 Silkscreen on canvas with unique dyed borders and handwritten text, Edition of 20, 41 x 47 inches Collection: Pasadena City College, Pasadena California

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling Echoes of Harlem, 1980 Acrylic on canvas, dyed, painted and pieced fabric 96 x 84 inches Collection: Philip Morris Companies, Inc.

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling Bitter Nest #1: Love in the School Yard , 1987 Acrylic on canvas with pieced fabric border 75. 5 x 92. 5" Phoenix Art Museum, Phoenix, Arizona From the Series: Bitter Nest

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling Tar Beach 2, 1990 Silkscreen on silk 66 x 66" Philadelphia Museum of Art, Philadelphia, Pennsylvania

Faith Ringgold Groovin High, 1986

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling Jo Baker's Birthday, 1993 Acrylic on canvas with pieced fabric border 73 x 78" The French Collection Part II; #9 St. Louis Art Museum, St. Louis, Missouri

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling Jo Baker's Bananas 1997 Acrylic on canvas; painted and pieced border 80. 5 x 76 inches The American Collection; #4

Faith Ringgold Matisse's Model , 1991 Acrylic on canvas with pieced fabric border 73. 5 x 90. 5" From the Series: The French Collection Part I; #5 Baltimore Museum of Art, Baltimore, Maryland

Faith Ringgold Painted story quilts. combines painting, quilted fabric and storytelling Flag Story Quilt, 1985 Acrylic on canvas, dyed, painted and pieced fabric 57 x 78" Spencer Museum of Art, Lawrence, Kansas

Judy Chicago. The Dinner Party A symbolic history of women in Western civilization in visual and textual form

48 feet on each side employs numerous media, including • ceramics, • china-painting, • needlework table covered with fine white cloths set with 39 place settings thirteen on a side A symbolic history of women in Western civilization in visual and textual form Determined to change the way women are remembered and regarded. Explores identity and other issues from a woman’s perspective _Choosing the vulva as her main subject matter (against traditional social taboos) _ Working with craft as well as fine art (rejected art hierarchies ) _Fore grounded the idea of artistic collaboration rather than lone artistic genius. Judy Chicago. The Dinner Party

Judy Chicago. The Plate setting (embroidery) The plate design (slowly becoming an sculpture) The Dinner Party

Primordial Goddess Plate China-paint on porcelain, 14" in diameter From The Dinner Party © Judy Chicago 1979 Judy Chicag o. The Dinner Party Hatshepsut Place Setting

1. PRIMORDIAL GODDESS, symbol of all emergent life 2. FERTILE GODDESS, symbol of fertility 3. ISHTAR, GREAT GODDESS OF BABYLONIA, giver and taker of life 4. KALI, Indian devourer/destroyer goddess 5. SNAKE GODDESS, embodiment of psychic vision and oracular divination 6. SOPHIA, abstract female symbol of Wisdom 7. AMAZON 8. HATSHEPUT, Egyptian pharaoh 9. JUDITH, Hebrew heroine 10. SAPPHO, Greek poet, fl. 600 B. C. 11. ASPASIA, Greek scholar and philosopher, 470 -410 B. C. 12. BOADACEIA, British warrior queen, lst c. A. D. 13. HYPATIA, Roman scholar and philosopher, 370 -415 Primordial Goddess the idea that women had no history - and the companion belief that there had never been any great women artists was simply prejudice elevated to intellectual dogma. Judy Chicag o. The Dinner Party

hypatia weeping Hellenistic goddesses Illuminated letter for the runner based on Coptic imagery. china paint on porcelain, 27" x 9" The Dinner Party Hypatia (c. 380 -415) is the thirteenth place setting on the first wing. Head of the University in Alexandria. Judy Chicago. • Through scholarship and public rhetoric, Hypatia urged a return to classical religion (stressing goddesses and the feminine), She angered the rising Christian powers of the Alexandrian community. • She was killed in an orchestrated attack by monks who pulled her apart physically and burned her dismembered parts

The chronicle of her death is among the first documented cases of witch execution. She represented the thousands of women who died Accused witches. The Dinner Party Petronilla de Meath, d. 1324 Judy Chicago. An Irish lady's maid who was one of the first women to be burned at the stake as a witch, Because he belief in the traditionally Irish Wiccan faith. • Runner: richly embroidered, snake like Celtic motif. • Plate features Wiccan symbols: the bell, the book, a candle, a cauldron and fire (double symbol: of ancient practices and execution)

Judy Chicago. The Dinner Party Eleanor of Aquitaine. Daughter of William IX, the Troubadour. Married to Luis VII of France Henry II Plantagenet, King of England. (Richard Lion heart, John No Land, Leonor of Castile)

Gerda Lerner's point, , that "men develop ideas and systems by absorbing past knowledge and critiquing and superseding it [while] women. . . struggle for insights others already had before them" (author's emphasis). Christine de Pisan , profesional author, 1363 -1431 Place Setting. Illuminated capital letter Judy Chicago. The Dinner Party

ELIZABETH R. Queen of England, scholar, poet, 1533 -1603 Judy Chicago. The Dinner Party

Place setting. Mary Wollstonecraft. Mother of Mary Shelley. Judy Chicago. The Dinner Party

The Dinner Party Judy Chicago. Mary Wollstonecraft, died of puerperal fever 10 days after giving birth to Mary Shelley. She was one of the first feminists, the author of A Vindication of the Rights of Women. , 1792. • Mary Shelley was left to educate herself amongst her father's intellectual circle, (political journalist William Godwin) • She published her first poem at the age of ten. At the age of 16 she ran away to France and Switzerland with Percy Shelley , . The story of Frankenstein started on summer in 1816 when Mary joined with Percy Shelley and Claire Clairmont near Geneva Lord Byron. She took a challenge set by Byron and Shelley to write the most frightening ghost story. e author of A Vindication of the Rights of Woman.

Judy Chicago. The Dinner Party

Judy Chicago. The Dinner Party Susan Anthony, Rights activist, Suffragist

Judy Chicago. The Dinner Party Sojourner Truth (1797 - 1883) abolitionist and feminist who, after being freed as a slave, traveled the United States speaking at various conventions for the equality of blacks and women. Her most famous speech was entitled "Ain't I a Woman? " and it was delivered at the Women's Rights Convention in Akron, Ohio.

Judy Chicago. The Dinner Party Georgia O’Keefe, Installation view of The Dinner Party Featuring the Virginia Woolf and Georgia O'Keeffe Place Settings.

Judy Chicago. The Dinner Party Collage/drawing for the Woolf setting Virginia Wolf, 1882 -1941 English author (A Room of One's Own; To the Lighthouse) Original runner design: an abstract suggestion of a lighthouse beam, References (cut-out photographs) of the Sappho and Sophia plates, Inclusion of her earlier goddess plate imagery to indicate the reemergence of powerful female generation.

Organic iconography: the plates incorporates both vulval and butterfly motifs, Judy Chicago. The Dinner Party Primordial Goddess Plate China-paint on porcelain, 14" in diameter From The Dinner Party © Judy Chicago 1979

Judy Chicago. The Dinner Party

b. France 1953. Lives and works in Paris to follow, peek into, and to spy on the lives of people she barely knows. Imposes elements of her own life onto public places, Creates a personal narrative were she is both author and character. Centered in The Process Diary and self portraits. Stories illustrate the photographs. Curiosity_Investigation. A detective or a voyeur Reflexion on the modern concept of Private life Photograph from "La Filature - The Shadow. " 1981 Followed by a detective hired by her mother. Sophie Calle

Sophie Calle. The Sleepers, 1979 Les Dormeurs she invited 45 people -strangers and acquaintances- to spend the night in her bed in order to photograph and observe them and to ask them questions. 29 people agreed to her proposal. documented in the photographic s accompanied by the artist's interview texts and descriptions.

Sophie Calle. Double game Collaboration with writer Paul Auster, She plays a Role Game. Part I: The Life of Maria and how it influenced the life of Sophie The Chromatic Diet Part II: The Hotel and The Detective, Part III: “The Gotham Handbook” She sees herself as a puzzle (Postmodern fragmented world) Tries to discover it by creating systems that Let her understand each small piece.

Sophie Calle. The Chromatic diet For each day, a different, outstanding color Monday is orange. Boiled prawns curl up, floating on a puree of carrots, while a slice of cantaloupe multiplies itself five times. Orange juice waits to be washed down. Tuesday is red. Glistening pomegranates slide through one another in a wild dance next to lazy tomatoes sleeping peacefully in soft couches of steak tartare.

Sophie Calle. The Detective Sophie Calle knew she would be followed and photographed as she went about her daily life in Paris, she had no idea which day the detective would be following her. She relinquishes the role of artist to the detective: To provide photographic evidence of (her) existence” She kept an itinerary of her own movements and wrote a description of what happened each day.

Sophie Calle, Suite Vénitiene, 1980 PUBLIC PLACES _PRIVATE SPACES Intimate objects appear as an anthropological study. To paint a portrait of the occupant. (an estranger) The Hotel. "On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the Course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to and end. " ---Sophie Calle, 'Double Game" • She followed a man she had met at a party to Venice and continued to follow and photograph him there for two weeks. • A year later she returned to Venice where she got a temporary job as a chambermaid. She made a piece of work about her imagined ideas of who the hotel guests were, based on their personal belongings.

Sophie Calle The failure of the myth of information Autobiographical stories The tie The pig Amnesia Divorce

Sophie Calle "Dream Wedding" from "Les Autobiographies", 2000 Photography and Text on aluminium 120 x 180 cm and 50 x 50 cm I nearly got married to a man who had been posted to China for three years. That's a long time. Like a fiancée whose betrothed is bound for the front, I wanted to marry him on the runway at Roissy airport, just before he left. The groom would step up into the plane as I stood on the tarmac. The reception would be held without him and I would spend my wedding night alone. We set the date for October 7, 2000. Negotiations with the airport authorities, mayor's agreement to officiate, license, guest list, dress everything was ready. Until a letter from the state prosecutor arrived refusing permission. Weddings had to be celebrated on municipal premises, with two exceptions: hospital, in the likelihood of imminent death of one of the betrothed, or prison. So, town hall, jail, agony, these were our choices. Banal, radical or tragic. Still, on October 7, I did go to the airport to wear my dress, just once, and to grieve for our wedding. And I did go back home alone, as planned.

Sophie Calle. The Blind How do blind people imagine beauty (THE BLIND, 1986)

Catherine Chalmers the drama of sex, intrigue, predators, consumption and death. the Food Chain series, photograph, 1994 -96

Catherine Chalmers Re-create the predator-prey encounters "Caterpillar and Tomato Remains", from the Food Chain series, photograph, 1994 -96. "Praying Mantis and Caterpillar", from the Food Chain series, photograph, 1994 -96 "Food Chain" took me two years to do. I mean, it took five minutes to set up for the praying mantis to eat the caterpillar. So, you think you can do this in one month's time, but it takes two years to get all these animals to grow,

Catherine Chalmers "Birth", from the "Pinkies" series, photograph, 1995 -97. "Nursing", from the "Pinkies" series, photograph, 1995 -97. Difficult (grouse subject) / Minimalist ambience / formalist framing / immaculate precincts of the galleries and museums

Catherine Chalmers Orchid Bug from "Imposters" C Print She camouflages the bugs (cockroaches) in the beautiful environment

Catherine Chalmers Lady Bug from "Imposters" C Print

Catherine Chalmers tension between beauty and repugnance Bumble beetles from "Imposters"

Catherine Chalmers I'm doing what we all do with roaches: I'm executing them. I can explore our relationship to the natural world through them that I can't with other animals. Hanging from ”Executions"

Catherine Chalmers Hanging Burning at the stake Executions Electrocutions

Rosemarie Trockel Born 1952 in Schwerte, West Germany Lives and works in Cologne

Rosemarie Trockel The subordinated manual labor of the woman. (weaving) Very conceptual motifs (Philosophy, mathematics) Plus and minus

Rosemarie Trockel Made in west Germany

Kiki Smith Pee Body, 1992 Wax sculpture with beads Fogg Art Museum, Cambridge Born in Nuremberg, Germany in 1954. Her father was minimalist sculptor Tony Smith

Kiki Smith Born in Nuremberg, Germany in 1954. Her father was minimalist sculptor Tony Smith

Kiki Smith Untitled (Flower Head), 1994 Bronze and glass Collection of Mary and Robert Looker Ribs, 1987 Terra-cotta, ink and thread, 22 x 17 x 10 in Solomon R. Guggenheim Museum

Kiki Smith Ovum and sperm Untitled, (placenta/ovaries) 1991 Indigo dyed and natural Gampi paper and papier-mache 87 x 30 x 24 in as shown Private collection