Female Diversity in the Mid Modern Arts

 Introduction

In 1969, 8% of the Whitney Biennial, then known as the Whitney Museum's Annual, comprised female artists. In the late 1960's to early 70's, groups like WAR, (Women Artists in Revolution), sought to change this and how women were viewed in the artistic world. Many women who were a part of the formation of  WAR, originated from the AWC, (Art Worker's Coalition), but left because women were still being treated like they were not enough compared to their male counterparts.  Other groups, such as Black Artists Liberation (1969) and Ad Hoc Committee of Women Artists (1970), soon followed. Ad Hoc protested at the Whitney about their lack of female artists, and in a rounding success the next year the number rose from 8% to 20%, including two women of color. Due to these groups starting a chain of reactions, feminist art was able to be shaped into what it is today. (JSTOR).

Please enjoy the following artworks from the women who made this era of female artists come to life. 

Walking Piece 1966, Yayoi Kusama (1929-)
New York
Currently Located: Garage Museum of Contemporary Art, Moscow (2015)

About the Art

One of Kusama's early and less conspicuous Happenings, Walking Piece, is her homage to her root culture while living in New York. In it, she asserted her identity as a Japanese immigrant and an artist by walking New York's empty streets in a flamboyant kimono and parasol combo. According to the Whitney Museum, although she dressed more modernly in Japan, Kusama enjoys the occasional traditional wear to show pride in being an outsider in New York (ArtsyYK). 

Art Elements

The piece comes together to isolate Kusama, drawing the viewer's attention directly to her. 

Form: The blurred form of other human bodies, aids in depicting Kusama as the one to pay attention to.

Color: The hot-pink color of the kimono stands out loudly drawing attention to what is happening, which was the idea. The surrounding background also has colors that complement what Kusama is wearing, helping her stand out further as the star.

Shape: The shape of the flowers on the kimono and parasol naturally draws the attention of onlookers, as flowers are normally a stimulating sight to see. 

Aesthetic Reaction

Upon viewing Walking Piece, I first thought that Kusama was breathtaking and full of confidence. I wouldn't own one of these displays but I would like to see it displayed at a museum. Overall I love the vibe that she was achieving to put out. 

Dancers 1968, Betty Blayton (1937-2016)
New York
Currently Located: Studio Museum, Harlem, New York

About the Artist

Betty Blayton was born in Williamsburg, Virginia, on July 10, 1937. Her works are best described as 'spiritual abstractions', combining monotype printing with traditional painting. She was a foundational abstractionist for many New York-based artists in the 20th century, including Jean-Michel Basquiat, a former student of hers (Artsy). She is the co-founder and Board Secretary of the Studio Museum in Harlem, co-founder and Executive Director of Harlem Children's Art Carnival (CAC), and co-founder of Harlem Textile Works. She has also served as an advisor, consultant, and board member for various art and community-based service organizations and programs (Betty). 

Art Elements

Form: Humanoid forms are in movement to depict dancing. Together they also help to form the face and body of another in the background watching the dancers be liberated, as if they are longing for that liberation for themselves. 

Color: The color palette used adds a sad depth to the painting, further complementing the longing to be oneself freely.

Line: Soft brushstrokes are used throughout almost giving this painting the illusion that it could melt away.

Aesthetic Reaction

This painting intrigues me as the more you look at it the more details you see in it. The dancers making up a giant form of a person grabbed my attention the most. This person looks lonely as if they are reflecting on themselves and what they wish they could be without being held back. Even the dancers appear as if this is the first time that they can move freely. I am unsure if this was the artist's intention as I could not find more details about the painting, but that is what it says to me. I would happily own a copy of this in my home.

Tiptoe Through the Tulips 1969, Alma Thomas (1891-1978)
Washington D.C.
Currently Located: National Gallery of Art, Washington D.C. (not on display currently)

About the Art

Thomas enjoyed painting works of nature, especially those around her Washington, D.C. home. This work depicts a tulip field in Spring and references Tiny Tim's song "Tiptoe Thru' The Tulips." Her work became associated with the Washington Color School Movement. According to Thomas, "Man's highest inspirations come from nature. A world without color would seem dead." (NGA). 

Art Elements

Color: Colors representing the rainbow are used, creating an inviting painting you want to 'tiptoe through'. 

Tone: A bright, eye-catching tone is used, captivating viewers to look at it.

Shape/Pattern: This painting consists of repeated rows of brightly painted rectangles.

Aesthetic Reaction

I love this painting! I would own this in my home in any room. I enjoy how this painting draws you in with its bright colors in neat rows as if you truly are staring into a field of tulips.

Reaching for Center 1970, Betty Blayton (1937-2016)
New York
Currently Located: New York

Art Elements

Form: Two humanoid figures stand back to back with each other reaching out. 

Color: The color is that of warmth, what you would expect to receive after reaching out for a hug.

Line: Soft brushstrokes give this painting an inviting feel as if reaching out to embrace you.

Aesthetic Reaction

This painting feels like a warm hug waiting to happen. The colors feel warm and inviting, and it makes me want to fall into the embrace of this painting. The shorter figure looks like they are the ones in need of comfort reaching in hopes to meet the comforting embrace of the taller one. This is a piece I would enjoy having in my home. 

Hochhaus (Nr. 1) 1974, Renate Eisenegger (1949-)
UK
Currently Located: Sammlung Verbund, Vienna

About the Art

Hochhaus (Nr. 1) speaks to the conformity and monotony that prevail in domestic spaces. Her signature white face paint represents being a blank canvas that is waiting to be filled. Breaking the mold of what 'should' be. The iron represents the flattening of women's individuality (HuffPost).

Art Elements

Color/Tone: The photo's black-and-white color and tones add to the simplicity expected of women of the time. Compared to something in full color, it gives the image a 'docile' feel, which is a homage to the docile nature expected of women.

Line: The lines and shape of Eisenegger's body are sharp in contrast to the rest of the lines you can see throughout the photo causing her to stick out as the focus. 

Shape: The simple rectangle door and lights, paired with the bare walls give a minimalistic, neat vibe, reminding one of the tidiness a woman is expected to keep.

Aesthetic Reaction

My first reaction to this was, 'What is going on? A woman is ironing a floor, in a covered face.' Upon learning about the image and what it is meant to represent, I found myself intrigued by it. Eisenegger's calm and confident demeanor is truly striking. While I enjoy this artwork I would not own a copy personally.

Demolition of an Illusion 1977, Karin Mack (1940-)
Vienna
Currently Located: Sammlung Verbund, Vienna

About the Art

Mack is shown in a lovely portrait holding a homemade jam against a floral background, she then pierces it, shattering the illusion and liberating herself from that identity. Along with many of her photographic images, Mack aims to take a dreamy detour from traditional forms of feminine representation, shattering them from the false promise that women are as cohesive and pleasant as their pictures would lead one to believe. According to the exhibition catalog, "The death of the image, the destruction of the photograph, is at once the end of an illusion and an act of liberation" (HuffPost).

Art Elements

Pattern: A floral pattern adorns the wallpaper in the background. While there is no uniform pattern with the nails and pins, Mack has them following the form of her body.

 

Color/Tone: The black-and-white color and tones add to the simplicity expected of women of the time. Compared to something in full color, it gives the image a 'docile' feel, which is a homage to the docile nature expected of women. The lack of color also aids with the submissive illusion that needs to be demolished.

Line: The sharp, jagged lines of the nails and pins are a sharp contrast against the softer, peaceful lines of the floral pattern wallpaper. 

Aesthetic Reaction

I think this piece is fantastic and would love to own a copy in my home, in my kitchen specifically. The nails and pins piercing Mack's smiling form are what first attracted me to this image. It loudly speaks against being caged into the role of 'just a housewife.' 

Works Cited

Blayton, Betty. “About Betty Blayton.” Betty Blayton, 2015, www.bettyblayton.com/about-betty-blayton. Accessed 19 Nov. 2024.

Dozier, Ayanna. “28 Overlooked Black Artists to Discover This Black History Month.” Artsy, 1 Feb. 2023, www.artsy.net/article/artsy-editorial-28-overlooked-black-artists-discover-black-history-month. Accessed 18 Nov. 2024.

Frank, Priscilla. “8 Radical, Feminist Artists from the 1970s Who Shattered the Male Gaze.” HuffPost, 24 Oct. 2016, www.huffpost.com/entry/feminist-artists-1970s_n_5800dfc1e4b06e0475943918. Accessed 18 Nov. 2024.

Gotthardt, Alexxa. “6 Works That Explain Yayoi Kusama’s Rise to Art World Stardom.” Artsy, 21 June 2018, www.artsy.net/article/artsy-editorial-6-works-explain-yayoi-kusamas-rise-art-stardom. Accessed 18 Nov. 2024.

Jackson, Ashawnta. “The Origins of the Feminist Art Movement.” JSTOR Daily, 1 Apr. 2021, daily.jstor.org/the-origins-of-the-feminist-art-movement/. Accessed 18 Nov. 2024.

National Gallery of Art. “Tiptoe through the Tulips.” Www.nga.gov, 2024, www.nga.gov/collection/art-object-page.195456.html. Accessed 18 Nov. 2024.