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morocco and spent time living there france the usa and saudi arabia through her time in each place she has come to learn more about herself and what it means to be an arab woman she has also learned how hard it is to understand her own identity when a lot of people have misinformation or prejudices against arabic culture her work is largely autobiographical as she deals with what it was like to grow up as a female in morocco and what it meant to her her experience is unique to herself as the arab world is very large spanning from the middle east to north africa through tribalism to monarchies to colonialism from various european countries to dictatorships to civil wars the arab world is very diverse and each experience is very dependent upon the location essaydi only speaks for herself and her experiences she attended high school in france and returned to go to art school following her divorce in the early 1990 s shortly after she came to the us and studied at tufts university and received her mfa from the school of the museum of fine arts her photography has been showcased in various locations including boston chicago minneapolis new york city syria france japan and many more on the biography section of her website essaydi says in my art i wish to present myself through multiple lenses as an artist a moroccan as traditionalist as liberal as muslim in short i invite viewers to resist stereotypes for those who may not know a lot about the arab world and who only knows of islam through what they see on the news i sincerely hope that this entry will inspire you to dig a little deeper to stop and question the news articles that you are reading to realize that even through there are bad people out there that there are also millions upon millions of arabs and muslims who live a very different reality than the one portrayed by the media select works by lalla essaydi converging territories 10 2004 photography in her converging territory series essaydi photographs women draped in white fabric in a white room essaydi discussed how in morocco it was common for women to be confined to the private spaces in the home while men could go out to the public spaces here the woman appears to be inside but she is writing calligraphy all over of the walls and is covered herself in the writing this is actually very symbolic much like painting that was once considered to be only a man s trade calligraphy was viewed the same way so even though this woman may appear to be confined she is owning a man s tradition and writing in her own words as mentioned earlier lalla like many women artists challenge high art as only men s art as well as how women are viewed by society it s a common struggle for women artists that transcends both the western and eastern world harem 1 2009 photography the harem series focuses on how architecture can dictate status as previously mentioned there are two spaces the private home and the public which is pretty much everywhere outside of the home women dominated the private space men the public in some cases women weren t even allowed to occupy the same space as men in private lalla essaydi drew inspiration where she grew up in a traditional harem where there multiple wives and children they all lived in their own space while the men had their own when she moved to the us she learned that the west had a peculiar way of viewing the harem lifestyle she saw images of exotic women surrounding a man this was not the life that lalla knew in morocco she directly challenges viewers to think about their preconceived notions of the arab life harem life and what it means to be a woman that s why you see a woman inside a private area of a much larger space bullets revisited 2012 photography the bullet series was intended to debunk the stereotype of arab women in harems essaydi dressed these women in more provocative clothing to address this stereotype and had the women make direct eye contact with the camera this forces the viewer to see them as they really are to think about what they know and what they ve always thought understanding why these stereotypes are problematic is especially important given our society today between the refugee crisis in syria and attacks in various countries the media and a surprising amount of people lump all arabs and muslims into one group it s great that we have artists like essaydi who make sure to note that all arabs and muslims are different and no one experience is the same the arab world has a rich history even if it hasn t always been perfect and it would be a shame for people to think so singularly about this essaydi s work will continue to tell a different story sources murtaza vali review uncovering the arab world photography and self representation the arab studies journal 2006 241 246 essaydi lalla biography lallaessyadi com http lallaessaydi com 1 html accessed september 25 2015 essaydi lalla statement lallaessaydi com http lallaessaydi com 6 html tv2africa morocco artist at the national museum of african art youtube video 4 57 august 15 2012 https www youtube com watch v yg_t0e y9hu judy chicago the dinner party and the feminist art movement september 21 2015 september 21 2015 kelseymt leave a comment background judy chicago is considered a pioneer of feminist art her work has enraged and enthralled art critics and viewers alike throughout the years born in chicago in the year 1939 as judith cohen she was always making art for her bfa she attended ucla and finished in 1962 a year after she married her first husband gerowitz he died two years after their marriage in 1963 the death of her husband and father would cause her to recreate her identity she finished her mfa in 1964 and began teaching at fresno state university it was here that she began the first ever women s art program where only women were allowed in the courses and she was moving away from the male dominated art scene and being in an all female environment where we could study our history separate from men s and see ourselves in terms of our own needs and desires not in terms of male stereotypes of women 593 jane gerhard what drove chicago to feminist art it s hard to believe but even in the 1960 s and 1970 s critics still believed that painting was a masculine trade and that women s art was craft and therefore not considered high art chicago felt trapped in an art world where she had to conform to the male s art market and style rather than be a women who creates from her point of view and experiences her frustration with male dominance lead her to change her name in artforum there was an ad depicting this event with chicago in a boxing ring and a tagline that read judy gerowitz hereby divests herself of all names imposed upon her through male social dominance and chooses her own name judy chicago a lot of chicago s work focuses on women s experiences and their thoughts on their experiences independent of men in society she eventually went on to begin the feminist art program with fellow artist miriam schapiro at cal arts as of now she works to expand her art knowledge and ways of expressing her views through learning new mediums and writing books she is still a big voice in feminist art select works by judy chicago the dinner party 1979 mixed media chicago s masterpiece which is now on permanent display at the brooklyn museum in new york aimed to honor major women who impacted history the piece which measures 48ft x 43 ft x 36 ft took five years and about 250 000 usd to complete many women artists volunteered to help bring this piece to life the table includes thirty nine place settings for women from different eras in history some mythical though most are real each setting has a table runner which has the name of the woman embroidered on it along with some images that represent her works in history on top of the table runners there is silverware napkins and a goblet the plate has a symbols of the female reproductive organs depicted mostly as flowers or butterflies in the middle of the table there are numerous tiles called the heritage floor which have the names of women who have contributed to history in some way the piece also made light of mediums traditionally considered craft or women s domestic art which were never to be on par with men s art or the high arts of painting and sculpture there was a lot of needlework china painting and textiles that went into the making of the dinner party women of the past made due with materials they had at their disposal which is why chicago chose to create the piece with them it was an ambitious project that was scrutinized by many whether they were applauding what she was doing for women s history or condemning her for the use of such explicit images below you can see the place setting created for author virginia woolf congressman robert k dornan was so upset with this work that he called the plate settings ceramic 3 d pornography there were many other criticisms including the lack of women of color at the table the one woman of color present didn t get a plate designed like everyone else she had a plate with a regular painting first wave feminism while groundbreaking for the female voice and representation wasn t an equally great time for women of color feminists white women even today who consider themselves feminist are learning that they too have a place of privilege in society compared to women of other races and ethnicities given how much the feminist movement has changed throughout the years i m always curious as to how this dinner party would look today who would have a place at the table would the plates be created differently would this work if introduced now receive as much criticism for it s vulgarity how would women of today view it feminist or not the birth project the crowning 1984 needlepoint over painting on mesh canvas chicago later became interested in birth saying on her website through the flower that birth is a universal human experience and one that is central to women s lives why are there no images it s true birth has always been something the human race needed to experience to continue and yet there was no art depicting this pinnacle moment why as a society americans have always been very hush hush about birth while all families were expected to have children one didn t talk about the process of making them or bringing them into the world in spite of how it s one of the most natural things humans do it was so taboo that the show i love lucy was the first to have a woman say pregnant in regards to themselves on live tv it was met with a whole bunch of criticism people didn t believe that a wholesome show should allude to such things and that it was very improper to say on live tv i also recently read the biography of zelda fitzgerald who went to a country club in the late stages of her pregnancy and was asked to leave for being indecent it was weird the whole idea of hiding the creation of human life is weird judy chicago wouldn t stand for it and thus began her second big project the birth project which depicted images to describe the experience of giving birth most of the work was done by needle workers throughout the us and canada and chicago spoke to many women about their personal experiences with birth many of whom never talked about it before with anyone she wanted to learn their feelings their pain their excitement their fear and what it was like to bring a child into this world and become a mother a conversation with judy chicago and suzanne lacey video finally as explained in the other entries it s one thing to learn about an artist and their intentions but it s even better to hear it from their own mouth this is a video of judy chicago discussing feminist art and what she wanted to accomplish with a prior student of hers suzanne lacy at otis college regardless of how one feels about her pieces chicago was successful in redefining what it meant to be both a woman and an artist in a male dominated society her work paved the way for many female artists to express themselves and be heard the way they wanted to be sources through the flower projects accessed september 19 2015 jane gerhard judy chicago and the practice of 1970 s feminism feminist studies 2011 591 618 accessed september 19 2015 a conversation with judy chicago and suzanne lacey through otis college youtube artemisia gentileschi painting female protagonists september 14 2015 september 14 2015 kelseymt 1 comment background make no mistake painting was considered a strictly masculine trade for a very long time so as you could imagine being a woman painter in the post renaissance period was no easy feat that goes for artemisia gentileschi who was born in 1593 in rome italy her father orazio gentileschi was a very well known painter who allowed her access to painting materials and instruction though no art academies would let a woman study with them artemisia still kept up with painting by apprenticing under her father s friend agostino tassi unfortunately for artemisia her art work and talent would take the backseat to a long trial over agostino s rape of artemisia in her essay 2002 artemisia the invention of a real woman sussana scarparo notes that artemisia has become an icon on account of having experienced the violence of patriarchal oppression both intellectually and physically p 363 some art historians debate whether the fact that she was a woman or the fact that she was raped had any real influence on her work this was a very different time after all artists were commissioned almost exclusively by the church to paint scenes from the bible to educate the masses there was no internal artistic influence and artists did not paint based on how they were feeling they were commissioned to create specific works of art with the best techniques they could to stand out from their peers that being said looking at her work compared to those who came before her one could certainly understand why some feminist scholars believe artemisia put more of herself in her paintings than one would suspect it s also a common belief that many of the renaissance artists incorporated hidden symbols or facts about themselves in their work so this wouldn t make artemisia a special case but one to be studied all the same believe it or not artimisia was almost completely forgotten by history up until more heavy research was done most of her paintings were believed to be done by her father or other artists he had worked with thankfully all credit has been given back to her and she holds her rightful place in art history as one of the first women painters of the baroque period select works by artemisia gentileschi susanna and the elders 1610 by artemisia and susanna and the elders 1561 by alessandro allori oil on canvas let s start with the obvious here susanna is in no way comfortable with the male attention she is receiving everything from her body language to the pained expression on her face to the ri...