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annotated_bib_-_notes.docx-IDS 3167 Annotated Bibliography Focus: Women
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annotated_bib_-_notes.docx-IDS 3167 Annotated Bibliography Focus: Women
Page 1
IDS 3167
Annotated Bibliography
Focus: Women in Art
Mary Heilmann
Laylah Ali
Josephine Halvorson
Caroline Woolard
Martha Colburn
Thomson, Molly. "Mary Heilmann: Looking at pictures."
Journal of Contemporary
Painng
, vol. 4, no. 1, 2018, p. 223+.
Gale Academic
Onefile
, hps://link.gale.com/apps/doc/A508201414/AONE?
u=tall85761&sid=AONE&xid=25c1422a. Accessed 29 Sept. 2019.
Heilmann pulls much of her inspiraon for her art work from her diving
experiences as a teenager
o
“the descent was at once soaring flight and plummeng weight […] Now I
can take these memories of feelings apart and think about what they
meant, how they formed for me a picture of desire.”
Early work in the 1970s
Trained as sculptor and ceramicist
Heilmann, and others from her me, challenged what was common for art, and
created things that showed the polical and cultural aspects of the mes
“Heilmann is already fully in charge of the rich possibilies of colour and drawing
upon a wide range of sources, from popular culture, punk and film to music,
painng, ceramics and even the colours on a computer screen or in a TV
cartoon”
o
oſten squares, rectangles, and grids in her work
o
different methods of painng, “viscous, liquid, scumbled, mae, glossy”
art is not simple as it appears
autobiography acts as “addional component” in her work, triggers much of her
work
Krisn Helmick-Brunet. “Projects 75: Laylah Ali.”
MoMA
, vol. 5, no. 3, 2002, pp. 38–
39.
JSTOR
,
www.jstor.org/stable/4420690
.
Projects 75 – Ali created comic book
Trademark green-headed, brown-bodied figures
Each page designed like comic book
o
Panels, bright colors, looks innocent/engaging
Each figure is engaged in act of violence – surprising narrave
o
Each character undisnguishable by race, class, age, gender


Page 2
o
Idenfied by clothes – military uniforms, running shoes, hats, masks
Comics look innocent at first glance, but looking deeper shows details of violence
and aggression
o
Manacles around necks, wrists, belts/whips in hand, dismembered heads
and limbs, wounds, small band-aids, x’s carved into bodies
o
Leads to quesons – who, where, why?
Juxtaposion of innocent comic book with graphic, shocking characters
o
Leads to quesons about Ali’s, and therefore, our, world
Goal to confront major sociocultural problems and quesons
“myths that we construct to make sense of the world are hollow and
inconclusive, thus implying that our insnctual responses to quesons of
consequence-identy, race, class, gender-are impotent and illusory”
constant thread of hope – outstretched hands, expressions of expectaon
Merjian, Ara H. “Josephine Halvorson.”
Art in America
, vol. 106, no. 1, Jan. 2018, p.
84.
EBSCOhost
, search.ebscohost.com/login.aspx?
direct=true&db=f5h&AN=126931688&site=eds-live&scope=site.
Focuses on sturdy, substanal objects on canvas
o
Architectural and industrial subjects
o
Recent natural sights, natural world, but with architectural elements,
such as fence post, stone paving, signs, etc.
o
Signs generally damaged, weathered, broken, etc.
“environment marked by humankind”
o
society’s relaonship with nature, including polics and culture
painng nature is not her strong suit, but draws aenon to architectural and
industrial aspects of work
John Haskell. “Caroline Woolard.”
BOMB
, no. 132, 2015, p. 116.
EBSCOhost
,
search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.24878998&site=eds-
live&scope=site.
“working to change the way the doing of art gets done”
idealized art
calls aenon to injusce
o
leads to quesons: how can we change a system that perpetuates
injusce?
Collaboraon and empowerment
o
Give power to disenfranchised people by allowing them to collaborate
o
TradeSchool.coop
Informaon is exchanged and bartered for other info
Goal to alter how art is distributed
o
Lead to changes in empowerment


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