This paper explains at the intersection of Memory theory, Feminist Theory, Existential Psychology, Faith and Contemporary Art, I have found a way to embrace and integrate memories and experiences into my art and be a more fully integrated, emotionally healthy person living fully in the present moment. I articulate my exploration of the broad concept of memory and addressing unresolved negative memories in order to realize healthy change in forming my identity. Through art and philosophical research I have found substantial corroboration, conceptually supporting my information supporting my Post Minimal art making process. I employ memory evoking materials through the use of repetitive acts and strict self-imposed rules throughout the art making process, communicating ne living in the present moment, embracing yet uninhibited by their past.

Janine Antoni's object- and performance-based works draw from multiple influences including feminism and conceptualism, and in these works the artist has fashioned an investigation of the self through the examination of the mother/child dyad, creating a more than fourteen-year body of work about these relationships that explore the implications of feminine imagery. Antoni’s works are an effort to distinguish her body as a feminine subject-object, but also to identify with as well as separate herself from the mother. While she is a conceptual artist, Antoni puts great emphasis on materiality. For her, the concept defines itself within the materials, and it is the process of the making that interests her most, empowering what is traditionally overlooked, forgotten, or disempowered. As she alternately separates from and connects with the mother and the foremothers of the artistic heritage that have surely contributed to establishing this identity, Antoni allows new images of the female to be made visible in a culture where they have traditionally been lacking.

Wangechi Mutu is an internationally recognized Kenyan-born artist who lives and works in Brooklyn. She creates collaged female figures composed of human, animal, object, and machine parts. Mutu’s constructions of the female body provide a transcultural critique on the female persona in Western culture. This paper contextualizes Mutu’s work and artistic strategies within feminist, postmodern, and postcolonial narratives on collage, while exploring whether collage strategies are particularly useful for feminist artists. In their fusion of machine and organism, Mutu’s characters are visual metaphors for feminist cyborgs, particularly those outlined by Donna Haraway. In this paper, I examine parallels between collage as an aesthetic strategy and the figure of the cyborg to suggest meaningful ways of approaching differences between women and how they experience life in contemporary Western culture.

La escritura de esta tesis Nuevas violencias de género, arte y cultura visual, parte de la relación entre la cultura visual y la violencia de género, evidenciando las nociones de narración, enunciación, práctica artística en las Bellas Artes y comunicación en la sociedad actual. Esta tesis implica la consideración una serie de argumentaciones sobre la construcción cultural de la violencia social. El tema que desarrolla esta investigación es la representación de las nuevas violencias de género en la práctica artística, los relatos de los medios de comunicación y la creación visual del videoarte. El período en histórico en el que se enmarca esta tesis se articula desde las prácticas feministas a partir de los años setenta, ochenta y noventa hasta la actualidad donde confluyen las nociones de cultura y globalización. La hipótesis e idea núcleo de esta investigación parte los relatos artísticos audiovisuales que han sido determinantes en la construcción de las imágenes de la violencia de género heredadas en nuestra tradición occidental, pero también atiende a la escritura de realizadoras y artistas o de textos teóricos silenciados. El objetivo de esta tesis es exponer el género como construcción social y la violencia de género en las obras de vídeocreación tomando como eje temporal inicial la década de los setenta, y como punto final las narrativas del vídeoensayo en la actualidad. Para ello las líneas metodológicas de las que se parten son la teoría interdisciplinar feminista crítica, la teoría estética, los estudios de crítica cultural y los estudios de comunicación. La tesis propuesta es deudora de las aportaciones metodológicas de la teoría interdisciplinar feminista y crítica y de los estudios de género, que permiten una aproximación al espacio de interpretación hermenéutico-retórico aportado desde estas teorías en la esfera de las Bellas Artes.Esta tesis se desarrolla mediante la consulta en archivos fílmicos internacionales para la elaboración de un corpus de obras fílmicas y videográficas que proponen la emergencia de nuevas violencias de género y su implicación el discurso de las Bellas Artes. Nuevas violencias de género, arte y cultura visual plantea una reflexión desde las estéticas y las prácticas documentales del cine y el vídeo. Las redes de archivos, autoras y distribuidoras en Europa y USA son, entre ellas: Blickpilotin (Berlín), Video Femmes (Québec), Film Archive imaginaria (Bologna), Woman Make Movies (Nueva York), Cinenova (Londres) y Electronic Intermix, Frameline (San Francisco). En este sentido, las líneas metodológicas que se aplicarán para el análisis prácticos de los relatos culturales en torno a las nuevas violencias estarán enfocadas desde el método de análisis y la investigación en archivos fílmicos internacionales para la elaboración de un corpus de obras del arte feminista y videoarte, situando en oposición la esfera de las Bellas Artes al discurso de la comunicación de masas en la cultura visual. El método de análisis presta atención a varias perspectivas teoría fílmica feminista, estudios de género, comunicación de masas, sociología, y análisis del discurso pero está guiado por la preocupación de una serie de cuestiones comunes: análisis de la representación de la violencia de género y sus categorías ideológicas, la relación con el imaginario social, función especular de los discursos dominantes, los imaginarios de que genera la esfera artística y los medios de comunicación.En definitiva, una mirada hacia la Cultura Visual de las prácticas artísticas feministas. Voces silenciadas que demandan la consideración de una hermenéutica que advierta de los fundidos en negro que supone la lógica de la dominación, la violencia de género en la Cultura Visual contemporánea. Relatos de la Cultura Visual que responden a otras formas de mirar para una nueva lectura crítica. / The writing of this thesis New gender violence, art and visual culture part of the relation betwee the visual culture and the violence of genre, demonstrating the notions of story, statement, artistic practice in the Fine Arts and communication in the current society.This thesis implies the consideration a series of argumentations on the cultural construction of the social violence. The topic that develops this research is the representation of the new violences of genre in the artistic practice, the statements of the mass media and the visual creation of the videoart. The historical period in that this thesis places is articulated from the practical feminists from the seventies, eighties and nineties up to the current importance where there come together the notions of culture and globalization.The hypothesis of this research departs the artistic audio-visual statements that have been determinant in the construction of the images of the gender violence inherited in our western tradition, but also its attends to the writing of producers and artists or of theoretical silenced texts. The aim of this thesis is to expose the genre as social construction and the gender violence in the works of Fine Arts taking as temporary axis the decade of the seventies, and as final point the narratives of the videoessay at present. For it the methodological lines of those who split are the theory interdisciplines critical feminist, the aesthetic theory, the studies of cultural critique and the studies of communication. The proposed thesis is a debtor of the methodological contributions of the theory to interdiscipline feminist and critique and of the studies of genre, which allow an approximation the hermeneutic - rhetorical space of interpretation contributed from these theories in the sphere of the Fine Arts.This thesis develops by means of the consultation in movie international films and video archives for the production of a corpus of films, videoessay and videoart that propose the emergency of new gender violences and their implication the speech of the Fine Arts.New gender violence, art and visual culture raises a reflection from the aesthetics and the documentary practices of the cinema and the video. The film and video archives, authoresses and distributors in Europe and USA are, among them: Blickpilotin (Berlin), Video Femmes (Quebec), Film Archive imaginaria (Bologna), Woman Make Movies (New York), Cinenova (London) y Electronic Intermix, Frameline (Usa). In this respect, the methodological lines that will be applied for the analysis practical of the cultural statements concerning the new violences will be focused from the method of analysis and the research in films and videoart international archive for the production of a corpus of works of the art feminist and videoarte, placing in opposition the sphere of the Fine Arts to the speech of the Communication of masses in the Visual Culture. The method of analysis there payes attention to several perspectives movie theory feminist, gender studies, communication of masses, sociology, and analysis of the speech but it is guided by the worry of a series of common questions: analysis of the representation of the gender violence and the ideological categories, the relation with the imaginary social one, function to speculate of the dominant speeches and the imaginary ones of which it generates the artistic sphere and the mass media.Definitively, a look towards the Visual Culture of the artistic practices feminists. Silenced voices that demand the consideration of a hermeneutics that warns of the bankrupts in black, that supposes the logic of the domination, the gender violence in the Visual contemporary Culture. Statements of the Visual Culture that answer to other ways of looking for a new critical reading.

Orientador: Luzia Margareth Rago / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T06:22:14Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_M.pdf: 8176144 bytes, checksum: 9014fdffc3242f435f32003452a23778 (MD5) Previous issue date: 2008 / Resumo: Focalizando as poéticas visuais das artistas Márcia X., Fernanda Magalhães e Rosângela Rennó, essa pesquisa aborda as relações estabelecidas entre a produção artística contemporânea e a crítica cultural feminista. Evidencia a permanência do ¿dispositivo da sexualidade¿ na contemporaneidade, na perspectiva aberta por Foucault, ao que procura contrapor as formas da resistência feminista encontradas em instalações, performances e objetos artisticamente construídos a partir de um olhar diferenciado, que visam provocar e polemizar com as verdades instituídas, em especial em relação ao corpo feminino, à sexualidade e à subjetividade / Abstract: This research explores the interconnections between artistic production and feminist cultural criticism, focusing on Brazilian artists Marcia X., Fernanda Magalhães and Rosângela Rennó¿s works of art. It shows the continuity of ¿the dispositif of sexuality¿ in contemporary world, considered through Foucault¿s concepts, and it points at the feminist forms of resistance as they appear in installations, performances and artistic objects construed by a diferenciated regard, that aims at polemizing with natural truths as they are imposed in relation to female body, sexuality and subjectivity / Mestrado / Historia Cultural / Mestre em História

[ES] La presente tesis doctoral sondea las intersecciones entre prácticas de creación colaborativa y arte relacionado con la ecología en los últimos veinticinco años. La investigación se desarrolla en el contexto de la actual situación de crisis ecológica y social y explora el papel de las prácticas artísticas estudiadas en la reconsideración del paradigma civilizatorio neoliberal, así como de los conceptos modernos de autonomía del arte y autoría. A partir de una metodología interdisciplinar, se propone una tentativa de acotación para definir un enfoque ecosocial en la producción artística contemporánea identificando además algunos aspectos caracterizadores del mismo. Se presentan cuatro estudios de caso para evaluar de qué manera las prácticas artísticas de enfoque ecosocial pueden contribuir a producir otros saberes, modos de sociabilidad, prácticas y sensibilidades encaminadas a la construcción de modelos culturales social y ambientalmente comprometidos. / [CA] La present tesi doctoral sondeja les interseccions entre pràctiques de creació col·laborativa i art relacionat amb l'ecologia en els últims vint-i-cinc anys. La investigació es desenvolupa en el context de l'actual situació de crisi ecològica i social i explora el paper de les pràctiques artístiques estudiades en la reconsideració del paradigma civilitzatori neoliberal, així com dels conceptes moderns d'autonomia de l'art i autoria. A partir d'una metodologia interdisciplinària, es proposa una temptativa d'acotació per a definir un enfocament ecosocial en la producció artística contemporània identificant a més alguns aspectes caracteritzadors d'aquest. Es presenten quatre estudis de cas per a avaluar de quina manera les pràctiques artístiques d'enfocament ecosocial poden contribuir a produir altres sabers, formes de sociabilitat, pràctiques i sensibilitats encaminades a la construcció de models culturals social i ambientalment compromesos. / [EN] This thesis explores the intersections between collaborative practices and ecology-related art in the last twenty-five years. The research develops in the context of the current ecological and social crisis and examines the role of the described artistic practices in the reconsideration of the neoliberal paradigm, as well as of the modern concepts of art autonomy and authorship. Adopting an interdisciplinary methodology, we attempt to define an ecosocial approach in contemporary art production and to identify some of its key characteristics. Four case studies are presented to evaluate how art practices based on an ecosocial approach can contribute to generate knowledge, modes of sociability and sensibilities for the construction of socially and environmentally engaged cultural models. / Estoy muy agradecida por haber podido disfrutar de un contrato predoctoral en el contexto del programa de ayudas MINECO BES-2016 que me ha permitido dedicarme a tiempo completo a esta investigación. / Sgaramella, C. (2021). Hacia un enfoque ecosocial. Prácticas colaborativas, ecología y compromiso político en el arte actual (1995-2020) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/163790 / TESIS

Judy Chicago’s art installation The Dinner Party celebrates historical women and theirachievements, and is considered one of the first epic feminist art pieces. Although The Dinner Party’s huge popularity, Judy Chicago received a lot of criticism regarding her feministagenda and her choices about which women are included in The Dinner Party and how theyare portrayed. The aim of this essay is to explore how The Dinner Party was received in thesecond wave of feminism that it was produced during, what it has meant for the feministmovement and for feminist art through a historical background, contextualize and nuance thecriticism, while also analyzing whether The Dinner Party would still be considered asfeminist art in today’s modern society. The essay is also focused on the symbolism in the artinstallation, the ceramics and the crafts, with help from Roland Barthes method for semioticimage analysis.

Mary Seton Watts (1849–1938) était une artiste et une activiste importante de la fin du 19e siècle et du début du 20e en Angleterre. Bien qu’elle ait connu un grand succès de son vivant, l’histoire n’a su assurer l’héritage de cette femme. Le Royal Victoria College de l’Université McGill à Montréal abrite Our Lady of the Snows, une bannière en soie brodée par l’artiste, accrochée dans l’anonymat dans un couloir. La bannière fut commandée par le gouverneur général du Canada Lord Grey, en 1907, dans un effort d’assurer dans le système universitaire canadien une présence impériale. Il a ainsi fait la commande d’une série de bannière à des dames de la société anglaise, leur demandant spécifiquement l’inclusion d’une image de Saint George et le dragon. Seulement, des deux bannières envoyées par Mary Seton Watts, aucune ne présentait cette imagerie. Alors que Our Lady of the Snows a été envoyée à l’institution féminine Royal Victoria à Montréal, l’autre, Spirit of the Flowers of the Nation, n’a pas été incluse dans les envois du gouverneur général. Ce mémoire vise à positionner Our Lady of the Snows à l’intersection de l’activisme féministe et de l’activité artistique de Mary Seton Watts. Tout au long de sa carrière, l’artiste a démontré que sa vision personnelle et son occupation professionnelle existaient en symbiose dans son esprit. Elle a, à la fois, utilisé son art dans ses efforts d’améliorer le monde autour d’elle et a puisé inspiration dans ses valeurs personnelles afin de construire un langage symbolique qui lui est propre. Peintre, potière, brodeuse, designer, entrepreneure, activiste et suffragiste, Mary Seton Watts a laissé un vaste héritage qui se caractérise par son habileté d’adaptation et son refus de se plier aux normes artistiques et sociales. L’artiste a produit cette bannière à un moment crucial du suffrage des femmes, où des bannières de nature similaire étaient utilisées comme outils de revendication. Par une analyse technique et symbolique détaillée de Our Lady of the Snows, ce mémoire démontre que l’œuvre est inscrite dans la foulée de ces bannières suffragistes, et comme un objet caractéristique du mariage entre art et activisme chez Mary Seton Watts. / Mary Seton Watts (1849-1938) was an important artist and activist of late nineteenth-century and early twentieth-century England. Although she was successful in her lifetime, her legacy has been forgotten through time. McGill University’s Royal Victoria College in Montreal houses Our Lady of the Snows, a banner designed and embroidered by Seton Watts. The banner is hung unidentified in the hallways of the building which now serves as university housing. Our Lady of the Snows was part of a commission from the then governor general of Canada, Lord Grey in 1906. This project was in accordance to Lord Grey’s wish to instill an imperial presence within Canadian universities. He ordered a series of embroidered banners from English gentlewomen and specifically requested they depict Saint George and the Dragon. However, of the two banners he received from Seton Watts, neither included the theme he had asked for. While Our Lady of the Snows was sent to Montreal, Spirit of the Flowers of the Nation was never displayed as part of his project. This thesis sets out to position Our Lady of the Snows at the intersection of Seton Watts’s feminist activism and artistic activity. Throughout her career, she exhibited how her art and values formed a symbiotic relationship. She used art in service of her social engagement and let her political beliefs transpire in her extensive symbolic language. Painter, potter, needleworker, designer, entrepreneur, activist and suffragist, Mary Seton Watts left a legacy that is extraordinary in its refusal to submit to artistic and societal expectations. She created this banner at a crucial moment in the history of the movement for women’s suffrage. Banners were becoming an iconic symbol of suffragist processions and were used to reclaim needlework while fighting for women’s rights. A close technical and symbolic reading of the banner positions the object as in direct dialogue with suffragist banners, as well as an emblematic demonstration of the union of art and activism in the work of Mary Seton Watts.

Elizabeth Waltenburg es una artista contemporánea argentina. En su muestra, despierta!, las obras en óleo sobre tela representan a mujeres, niños y animales en fondos extraños y deprimidos. Ella utilize simbolismo de animales y figuras femeninas para discutir el feminismo actual. Ella trabaja en un tiempo complicado por el feminismo, el postfeminismo, la critica de ambos, y un sistema de comunicación global. Su trabajo marca una tendencia hecho por la confusión de todos estos movimientos. Esta tesis discute su trabajo en el contexto de la historia de representaciones de mujeres, de niños y de animales para llegar a una mejor comprensión de los que hace ella. English: Elizabeth Waltenburg is a contemporary Argentine artist. In her show, “Wake Up!”, the oil on canvas works represent women, children and animals on strange and depressed backgrounds. She uses the symbolism of feminine and animal figures to comment on contemporary feminism. She works in a complex era marked by feminism, post-feminism, criticism of both schools and a system of global communication. Her work incorporates elements from all the issues above. This thesis discusses her work in the context of the history of representation of women, children, and animals in order to arrive to a better comprehension of the kind of work she does.

This study is about the artist Monica Sjoo’s (1938-2005) painting God giving birth (1968) that was accused of being blasphemous and obscene in the early 1970s. God giving birth could have had much in common with Niki de Saint-Phalle’s She – a cathedral (1966), both works suggesting a mother goddess image. The main difference however can be found in the fact that Monica Sjoo’s painting had connection to the women’s movement in the 1970s. Monica Sjoo’s artwork responded to other feminist artwork of that period. Among several feminist artists during the period about 1968-1985, an iconography was in use that focused on vulvar imagery, experience of childbirth and goddess images. In particulary the mother goddess was embraced. The female body in art was re-sacred and invested with meaning connected with women’s cycles of birth-death and rebirth and the earth as a mother goddess.