Hostname: page-component-586b7cd67f-2brh9 Total loading time: 0 Render date: 2024-11-23T20:40:40.898Z Has data issue: false hasContentIssue false

Re-enfranchising Art: Feminist Interventions in the Theory of Art

Published online by Cambridge University Press:  25 March 2020

Abstract

Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, 1 extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re'enfranchises art by revisioning its relationship to its contexts.

Type
Research Article
Copyright
Copyright © 1990 by Hypatia, Inc.

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bank, Mirra. 1979. Anonymous was a woman. New York: St. Martin's Press.Google Scholar
Berleant, Arnold. 1986. The historicity of aesthetics I. British Journal of Aesthetics 26 (2): 101111.CrossRefGoogle Scholar
Broude, Norma. 1980. Miriam Schapiro and “femmage”: Reflections on the conflict between decoration and abstraction in twentieth century art. In Miriam Schapiro: A retrospective 1953‐1980. Wooster, OH: College of Wooster.Google Scholar
Broude, Norma, and Garrard, Mary D. 1982. Feminism and art history: Questioning the litany. New York: Harper and Row.Google Scholar
Busch, Guenter, and Von Reinken, Liselotte, eds. 1983. Pauk Modersohn‐Bedcer: The letters and journals. Wensinger, Arthur S. and Clew Hoey, Carole, trans. New York: Taplinger.Google Scholar
Comini, Alessandra. 1977. Gender or genius? The women artists of german expressionism. In Feminism and art history. See Broude and Garrard 1982.Google Scholar
Danto, Arthur C. 1964. The artworld. The Journal of Phuosophy 61:571584.Google Scholar
Danto, Arthur C. 1986. The phihsophkal disenfranchisement of art. New York: Columbia University Press.Google Scholar
Fine, Elsa Honig. 1978. Women and art. Montclair, NJ: Allanheld and Schräm.Google Scholar
Hartley, Marsden. [1921] 1972. Adventures in the arts. New York: Boni and Liveright.Reprint. New York: Hacker Art Books.Google Scholar
Mainardi, Patricia. 1973. Quilts: The great American art. In Feminism and art history. See Broude and Garrard 1982.Google Scholar
Nochlin, Linda. 1971. Why have there been no great women artists? In Art and sexual politics. Hess, Thomas B. and Baker, Elizabeth C., eds. New York: Collier Books.Google Scholar
Parker, Roszika and Pollock, Griselda. 1981. Old mistresses: Women, art and ideology. New York: Pantheon Books.Google Scholar
Perkins, David. 1981. The mind's best work. Cambridge: Harvard University Press.Google Scholar
Petersen, Karen. 1981. American women artists: The nineteenth century. Hagerstown, MD.: Harper and Row Audiovisuels.Google Scholar
Pollock, Grielda. 1987. Women, art and ideology: Questions for art historians. Women's Studies Quarterly 15 (1&2): 29.Google Scholar
Rendell, Clare. 1983. Sonia Delaunay and the expanding definition of women's art. Woman's Art Journal 4 (1): 3538.CrossRefGoogle Scholar
Rosen, Randy, et. al. 1989. Making their mark: Women artists move into the mainstream, 1970‐85. New York: Abbeville Press.Google Scholar
Wimsatt, W.K. and Beardsley, Monroe C. [1946] 1954. The verbal icon. Reprint. Lexington: KY.: University of Kentucky Press.Google Scholar
Withers, Josephine. 1983. In the world: An art essay. Feminist Studies 9(2): 325–6.CrossRefGoogle Scholar
Woolf, Virginia. [1928] 1945. A room of one's own. Reprint. Harmondsworth, Middlesex, England: Penguin.Google Scholar