8/28/2012 11:27:00 AM 09-04-12 Chadwick's Preface (pg.

7-16) Angelica Kauffman and Andrea Zoefler Nude model painting is the standard, and women are barred from studying this type of painting Ideal of the academic artist Creating the image of women as objects to be possessed Image of women as antithesis to high culture and intellectualism Reclaim women's histories and resituate them in history Question of using gender as a binding category to analyze Difficulty of separating the idea of the art that women create from the women themselves Queer theory and cultural studies are similar to feminism in that it strives to diversify and empower Lagan and Foucault Power of words Intersection of women as the procurers of art and those being represented is key to understanding and interpretation Broude & Garrard's Intro (pg. 1-25) Essentialism Lisa Tickner: why are there no great women artists? Gender is a semiotic category Divergence away from female agency Women can be grouped into a cohesive category based on their sex Anti-essentialism Women cannot be cohesively grouped basede only on sex, even grouping based in gender is precarious Essentialism minimizes women's differences Continuous destabilizing pressure female agency has exerted on culture, in response to the reactionary oppression; there is a vicious cycle to this creation and reaction Gender and subjectivity

8/28/2012 11:27:00 AM In principle, male and female gender positions are equivalent In practice, women are confined by their artics achievements in a public venue because they are thought to be farther from God, and as art is a divine creation, women are not as able to produce fine art as men 1970s- women are empowered by the same physicality that denigrated them in earlier centuries 1980s- away from vagina identifying, and alignment with victims of other power struggles Late 1980s- empowered by her intellect and association with culture, rather than her ancient association with nature Women as patrons, tastemakers, and interpreters While women might not have been artists (thought art history), they contribute to it in other ways as patrons and other roles Question of sexuality as denigrating or powerful and not the predominate characteristic, sometimes ambiguous Manet's Bar at the Folies-bergere Women is the viewer and consumer (spectatorship) More power of women=greater reactionary conservancy by men Demoiselles de Avignon Generally seen as sexist and demoralizing African masks can be seen as offensive Hannah Hoch's photomontages Women feel anxiety when looking at androgynous figures, so they are created to look more objectively like art and require less subjective consideration and contemplation Gendering of Styles Opposition of drawing and color in the 16th century

8/28/2012 11:27:00 AM Drawing (diseno: florence and rome) is considered more in intellectual Painting is more emotional (colore: Venice) Techniques can be viewed as masculine or feminine regardless of the end product (i.e., frankenthaler vs pollock) Feminism is seen as threatening to/by men To reclaim female agency, interpretation and writing should be done by women Slatkin's Intro (pg. 1-11)