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annotated bib - notes.docx
annotated_bib_-_notes.docx
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annotated bib - notes.docx-IDS 3167 Annotated Bibl...
annotated_bib_-_notes.docx-IDS 3167 Annotated Bibliography Focus: Women
annotated bib - notes.docx-IDS 3167...
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
Painng
, vol. 4, no. 1, 2018, p. 223+.
Gale Academic
Onefile
, hps://link.gale.com/apps/doc/A508201414/AONE?
u=tall85761&sid=AONE&xid=25c1422a. Accessed 29 Sept. 2019.
Heilmann pulls much of her inspiraon for her art work from her diving
experiences as a teenager
o
“the descent was at once soaring flight and plummeng 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 polical and cultural aspects of the mes
“Heilmann is already fully in charge of the rich possibilies of colour and drawing
upon a wide range of sources, from popular culture, punk and film to music,
painng, 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 painng, “viscous, liquid, scumbled, mae, glossy”
art is not simple as it appears
autobiography acts as “addional component” in her work, triggers much of her
work
Krisn 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 narrave
o
Each character undisnguishable by race, class, age, gender
Page 2
o
Idenfied 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 quesons – who, where, why?
Juxtaposion of innocent comic book with graphic, shocking characters
o
Leads to quesons about Ali’s, and therefore, our, world
Goal to confront major sociocultural problems and quesons
“myths that we construct to make sense of the world are hollow and
inconclusive, thus implying that our insnctual responses to quesons of
consequence-identy, race, class, gender-are impotent and illusory”
constant thread of hope – outstretched hands, expressions of expectaon
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, substanal 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 relaonship with nature, including polics and culture
painng nature is not her strong suit, but draws aenon 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 aenon to injusce
o
leads to quesons: how can we change a system that perpetuates
injusce?
Collaboraon and empowerment
o
Give power to disenfranchised people by allowing them to collaborate
o
TradeSchool.coop
Informaon is exchanged and bartered for other info
Goal to alter how art is distributed
o
Lead to changes in empowerment
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