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Final Project – Rain

Women in the society have been marginalized for as long as they have existed in the world. Efforts have been witnesses from different types of people holding different places in the society trying to get women to be accorded their rightful place and in many times, be given equal attention and importance as men. Part of these efforts has been witnessed from artists, especially feminist artists. Feminist artists like Judy Chicago and Georgia O’Keeffe are some of the most outstanding feminist artists who try to establish women in the society. In the paper, the extent to which these artists can achieve to gain women their place in the society is examined.

Amelia Jones provides a thorough evaluation of Dinner Party by Judy Chicago. Amelia tries to express the sexual ground of the art by evaluating its aspects that show or rather bend towards the female gender. Amelia goes ahead to present a number of aspects in the piece of art that are highly attention catching and that raised a lot of diverse reactions from art critics (Jones, Amelia). To establish her own view of the art, Amelia highly uses as well as gives much reference to the reactions of the time the art was done. The Dinner Party is described as having achieved itself storage from the year 1980 to 2002 mainly due to the intense reactions that it received from art historians. Amelia describes the piece and the issues it focuses on highlighting as pillars to grasping the politics of the theory of feminist art, modernist, postmodernist as well as the art history in general.

Imagery interpretation is what Amelia uses to evaluate The Dinner Party and bases her reactions on the modern art history. Amelia refers The Dinner Party as being evidently a transgression of the conservative nature of the modernist art. Modernist art highly accuses the art as being kitsch which confirms its possible threat towards the disinterested discussions which have their power originating from their assumptions of the artistic value’s inherence (Jones, Amelia). The art of The Dinner Party is described as subverting the value systems of the modernist art through its use of explicit politicization of the western culture.

The Dinner Party is stated to revisit the western culture history by naming and visually symbolizing 1038 women from different periods of history. 999 women being named on the tiles, while the 39 honorees are named at the dinner table, being represented by symbols such as needlepoint runners whose work techniques originate from the time each individual woman lived. Ceramic plates containing centralized designs and vulvar imagery were as well used in the piece (Jones, Amelia). The Dinner Party includes the media constituted in women’s domestic labor such as needle works, ceramics, china painting etc. gives a rise to a crash between the domestic kitsch and the aesthetics.

Lucy Lippard is another artist that provides a reaction to The Dinner Party. Like Amelia, Lucy states that the piece of art acts as a symbol of the female power. She describes the power to be demonstrated through a twisted as well as by the use of an ornate dinner party that has plates showing the place of 39 respectable females. She supports the piece arguing that it has feminism as the middle focus and not just a creation of an art (Vora, Hena). Lippard added that The Dinner Party had a goal to show women that they should not take commands regarding their lives but should make their own commands especially when it comes to their choice of works and lives. She further added that the piece represented the way in which women have gone to extends to prove themselves by prospering in the society just like men.

Georgia O’Keeffe, on the other hand, produces works of art similar to those Judy Chicago in The Dinner Party. O’Keeffe uses flowers and other drawing themes but they all end up looking like the female genitalia. In her drawings, O’Keeffe can be said to try to draw the attention towards the flowers as she draws them big enough to catch the eye. It, however, appears more symbolic as she tries to show the beauty of women that no one notices easily (Goodwin, Patricia). She tries to emphasize on making people notice women in the society just like in The Dinner Party where the power of women is the key emphasize.

In the drawn piece, I tried to converge the several characteristics of a woman that the society holds. Different members of the society view the female gender differently while at the same time, women themselves view themselves differently too. In the drawing, I constituted a female face, a flower and an animal, a leopardess. The three constituents of the picture are a representation of different female characteristics with the female face showing the normal and neutral view of women in the society which is mere people who do not have any effect on the society. Flowers represent the assumption that women are fragile and sensitive. The animal put on the background behind the face and flower represent the hidden potential f women, their ability to be wild at times, fight and to protect themselves. The face contains eyes that express deep focus which as well reflects the boldness of the animal.

It is, therefore, evident from all the stated works of art that the female gender at many times faces a great challenge in trying to get to their place in the society. Many people in the society do not accord a lot of importance to women which in turn forces them to engage more efforts to earn their place in the society. It is, therefore, evident that art can be used widely to preach the power of women that is not seen by people easily and as well convey the message on how powerful women can be if they rise up and fight for themselves.

Works Cited

Goodwin, Patricia. "Georgia O'Keeffe: Flowers Are Vaginas". Patriciagoodwin.Blogspot.Co.Ke, 2016, http://patriciagoodwin.blogspot.co.ke/2016/03/georgia-okeeffe-flowers-are- vaginas.html.

Jones, Amelia. "The Sexual Politics of the Dinner Party.” Reclaiming Female Agency: Feminist Art History after Postmodernism". Theslideprojector.Com, 2016, http://theslideprojector.com/pdffiles/art6/thesexualpoliticsofthedinnerparty.pdf.

Vora, Hena. "Digitation E-Portfolio: Art & Politics In The 20Th Century :: Final Paper". Bu.Digication.Com, 2011, https://bu.digication.com/henavora/Final_Draft.