First Annual International Women in the Arts Conference. Women in Arts, Architecture and Literature (original) (raw)
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Actual Problems of Theory and History of Art: Vol. 11, 2021
This work mentions the interplay of our respective research and two case studies related to the situation of female artists at the beginning of the 20 th century. Wishing to react to some issues related to art and gender studies, let us start by presenting in a very fast way a project carried out in Rome from 2016 to 2019. Many works have been published reporting data and statistics on the presence of women in the art world (from the provocative Guerrilla Girls, to the results of research by Taylor Whitten Brown for Art Basel in 2019 and by Antonietta Trasforini in Italy) [15; 35; 31]. The project I am talking about, ended with the publication of a volume entitled FEMM[E] Arte [eventualmente] femminile (FEMM[E] [Eventually] feminine Art) [19], it was born and developed in an unusual and original way, perhaps less scientific, appointed over time as an operational specificity (Ill. 59). Promoters and curators of the initiative were: Veronica Montanino, a Roman artist who has been working since 2000 with great visual impact works inspired by camouflage and metamorphosis; I myself, a teacher and art historian engaged since 2005, among other things, in research on art in relation to women; about sixty female Roman artists who spontaneously joined the survey. The idea was born from the MAAM-Museo dell' Altro e dell' Altrove (MAAM-Museum of the Others and the Elsewhere), a former Roman factory occupied by immigrants-but also by homeless Italian citizens-due to the housing emergency in Rome. Here, in the succession of rooms not originally intended for domestic life or for works of art, an exhibition of 500 free and spontaneous interventions by artists from Italy and other parts of the world was held, in order to raise a "barricade" to defend the allocation and the dignity of the people who had settled there [10]. We observed that many of the artists working there were women, in a percentage not usually seen in museums. Some questions raised up: was the high number of female artists in such an irregular and unconventional place a symptom or consequence of the difficulties that female artists still encounter when entering the art system and market? Did the operation in its entirety (and all the engaged artists as well), inspired by principles such as acceptance, inclusion, the need to defend a "non-economic" humanity, have a generally "feminine" character, opposed to the financial rationalism of our times? What had changed compared to the experiences and studies of female artists and scholars who, at least starting from the 1970s, had tried to highlight and undermine the strongly masculine character of the art system and historiography?
Women Artists Shows·Salons·Societies: Towards a Global History of All-Women Exhibitions
2019
The ARTL@S BULLETIN is a peer-reviewed, transdisciplinary journal devoted to spatial and transnational questions in the history of the visual arts. The Artl@s Bulletin 's ambition is twofold: 1. a focus on the "transnational" as constituted by exchange between the local and the global or between the national and the international; 2. an openness to innovation in research methods, particularly the quantitative possibilities offered by digital mapping and data visualization. We publish two to three thematic issues every year. If you would like to contribute to the journal with an article or propose a theme for a future issue, please contact the editors Catherine Dossin
ENCOUNTERS BETWEEN FEMALE ART AND MUSEUMS
Sonia Chabbi, 2015
This thesis analyzes the role that women's art plays in the museum and could play in a woman's valorization process as an artist, curator or director of an exhibition. Through the analysis of the cultural context in which the female art is developed and borned, it will focus first on the perception that it had in the historical and artistic context and the various forms of thought. From here there will highlight a paradigm: “Are feminism and the museum as we know it compatible at any level?”. It will follow, at this point, the analysis of three case studies in the European reference museum context: the Frauenmuseeum in Bonn, the Museo della Donna of Merano and Microstories Women: Analysis of art exhibitions in the panorama of Bosnia and Herzegovina local area. By analyzing the different relationships between museums and feminine art and the role played by women, it will try to answer a question, namely relational between the museum and the female art as such. Finally, it highlight the relationships among the three different museums and women's art, the possible contributions that education and gender training processes can offer to the museum and back again, especially for the "thought reform" needed to change. The ultimate aim is to ensure a useful analysis for a rapprochement between art and revaluation of women in museums. Keywords: museums, female art, curating, displaying art, cultural background, local.
Italian Art Society Newsletter, 22 n.3, 2021
Dear Members of the Italian Art Society, I'd like to begin by wishing everyone a healthy, safe, and productive academic year. While many of us have returned to teaching in person, and some fortunate few were able to resume traveling abroad for research over the summer, it is clear that we are still far from getting entirely back to "normal." Please take care of yourselves, both mentally and physically in this continuingly difficult time. There are, however, some glimmers of hope on the horizon! It was recently announced that vaccinated travelers from abroad will finally again be allowed entry into the US. And while we were once again unable to hold our annual IAS/Kress Lecture in Italy this year-usually the highlight of our summer programing-we are extremely pleased to announce that we are planning to resume the series in summer 2022 with a lecture held in Cortona on June 30. Rest assured that all safety measures will be in place as conditions and regulations demand. The Call for Speaker (found on p. 3 in this Newsletter, as well as on the website) is currently open, with a deadline of January 21, 2022. If you work on a relevant topic, please consider submitting a proposal via the website portal. And for those of you thinking longingly of travel to Italy next summer, put the event date on your calendar now! In addition to the lecture, followed by an aperitivo, we're also planning to offer optional visits to several important sites in Cortona, to make this the truly celebratory event we all need after these last many months. I'd like to thank Katie T. Brown, our Membership Chair, for her invaluable work thus far in planning this event, and our Executive Vice President, Tenley Bick, for designing the event flyer. While we are always grateful to the Kress Foundation for their ongoing support of our joint lecture series (and their understanding during the last two years when we were unable to hold events), we have an additional reason to be
2021
This thesis is based on how Isabella d\u27Este (1474-1539) cultivated her extensive collection of rare antiques and art, given the parallel evolution of her art commissions and political concerns as it pertains to iconography and feminism. Instead of discussing what previous scholars have researched concerning Isabella d’Este, this thesis will incorporate the iconography as it pertains to her commissions in a historiographical sense, as well as argue why this iconography would eventually become a beacon for feminist discussion. This will primarily examine Isabella’s commissions from 1494 to 1507, including her earliest portraits and the first four paintings of her studiolo. This will include background of iconographic theory alongside how Isabella wanted herself depicted as a powerful court lady of Mantua from a feminist standpoint