Feminist Art Paper Topic Proposal

 The Importance of Performance Art in Relation to the Feminist Art Movement  

Feminist artists are constantly seeking innovative ways to reclaim their bodies, their voices, their lives and their futures. Throughout the 1970’s, aided by a multitude of art forms, feminist artists scorned, mocked, criticized and exposed the patriarchal nature of the art world and society as a whole. Feminist artists were looking for unique ways to express their truth and experience as not only a woman, but also a woman artist. These artists wanted to challenge current art forms, create new forms of self-expression or reconstruct existing art forms, making them their own. One of the most unique and powerful art forms cultivated by women during this time was that of performance art. Cheri Gaulke, a renowned activist and feminist artist insinuates that the idea of performance art is not at all a foreign experience for women. Gaulke states that as women “We’re on stage every moment of our lives. Acting like women. Performance is a declaration of self …and in performance we found an art form that was young, without the tradition of painting or sculpture” (Gaulke, 1980, p.13). Performance art was a unique form of artistic expression that was not dominated or preferred by men. Performance art allowed women to express their thoughts as they came. Whether it was  the collaborative efforts of Woman House or a solo act, the performances brought attention and awareness to the many issues women were facing in their everyday lives. Marina Abramovic, the “grandmother of performance art” (Greenwood, 2012) states that, “Art should be disturbing. Art has to have the power to open the eyes of the viewer” especially that of performance art. Performance art is immediate, it is real and it is thought provoking, but above all it is a unique art form that women were able to make entirely their own

References:

Cook, G. (2013). Performance Artist Marina Abramovic: ‘Art Should Be Disturbing.’

         The Artery. Retrieved from http://artery.wbur.org/2013/03/06/marina-abramovic-

Gauke, C. (1980). Acting Like Women: Performance Art of the Woman’s Building.

Retrieved from: http://www.otis.edu/assets/user/GaulkeCitizenArtist.pdf p. 13-

21.

Greenwood, E. (2012). Wait, Why Did That Woman Sit in the MoMA for 750 Hours?

           The Atlantic. Retrieved from:

http://www.theatlantic.com/entertainment/archive/2012/07/wait-why-did-that-         woman-sit-in-the-moma-for-750-hours/259069/

On Goddesses and O’s

1. Why did Monica Sjöö’s  “God Giving Birth” (1968) cause such a public scandal?

Monica Sjöö’s piece titled “God giving birth” received an incredible amount of negative press when it was first displayed in 1970. The artist believes that her work caused a public scandal simply because she was displaying God in a way that was drastically different than western civilizations version of the typical God. Her god was a non-white woman, shown giving birth, painted in stark white and black. She does not smile back at the viewer nor is she stereotypically beautiful. Individuals were outraged that one would try and portray “our creator” not only as a woman, but a non-white woman. Many viewed this work as pornography or simply “obscene and blasphemous” (p.591).

I agree with the artist when she insinuates that if the painting had depicted a white, blonde, enticing, beautiful woman the painting may have been less scandalous. The viewers may have seen the woman as simply another “Goddess” as opposed to the God it was meant to portray. People do not like having historical figures, especially in a religious context, redrawn or repossessed. God has some how become a figure that is so set in stone there is very little room for an honest and open debate about who God COULD be. I agree with the artist when she states, “when people say they do not see the ‘God-being’ as of a specific sex, they still clearly assume it to be male” (p.591). So many individuals will claim that God is a being of your own understanding. However, if it came down to a debate or conversation over the “real” gender of God most of these individuals will claim that God is essentially male. Why is this? Because this is what the patriarchal system of religion has engrained into its members and society as a whole since birth.

2. Do you agree with Sjöö that “art is a revolutionary act”?

I absolutely believe that “art is a revolutionary act,” which is clearly shown through works such as “God Giving Birth.” Art is not always just meant to be seen and looked at, much of the time it is used to invoke a response in the viewer. Art can be used as a weapon for justice, a tool against inequality or as an instrument for social change. Whether or not people agreed or disagreed with the message of “God Giving Birth” it forced individuals to think about the meaning of the painting and one’s own definition of God. When Sjoo no longer felt she could fight the battle on her own she recruited fellow women artists to spread the message of female art and power. These women were not afraid to continue showing their work and spreading their message, even in the face of clear opposition. Political art makes people think, gives the voiceless a voice and in many cases can be used as an aid in social transformation.

3. What is the “myth of the vaginal orgasm”?

The vaginal orgasm myth stems from the notion that if women are unable to achieve orgasm through strictly vaginal stimulation (as opposed to clitoral stimulation) women are termed “frigid.” This idea suggests that clitoral orgasms are simply “child’s play” in comparison to the infamous vaginal orgasm. In reality “the vagina is not constructed to achieve orgasm” (p.227) this is the job of the clitoris. I agree with the author when she discusses the idea that those sexual positions deemed as “standard” need to be revised. The most standard sexual position one can think of is the missionary position, which generally does not lend much immediate attention to the clitoris. Freud wrote extensively on female orgasms and insinuated that if a woman is unable to reach a vaginal orgasm she must require psychiatric assistance. This idea is absolutely ridiculous to me. How can a man, who does not posses a vagina, even attempt to claim that they know more about a female’s sexual enjoyment and female anatomy than a woman herself?

The idea that women were made to feel broken, inadequate, ashamed and incapable is upsetting to say the least. Instead of viewing their clitoral orgasms as powerful and enjoyable they were lead to believe that they were simply “not enough.” This essay should be a required text for all men and women to help abolish this ridiculous myth. Since this will likely never occur women should feel empowered to discuss their sexual fantasies and turn ons with their significant other. If their partner is unwilling to “lend a hand” it’s a pretty good indication their partner has limited interest in fulfilling any sexual desires other than their own.