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Organizations like A.I.R. Gallery and Women Artists in Revolution (WAR) were formed in New York to provide greater opportunity for female artists and protest for to include works of women artist in art venues that had very few women represented, like Whitney Museum and the Museum of Modern Art.
The women's art movements spread world-wide in the latter half of the 20th century, including Sweden, Denmark and Norway, Russia, and Japan. [20] [21] Women artists from Asia, Africa and particularly Eastern Europe emerged in large numbers onto the international art scene in the late 1980s and 1990s as contemporary art became popular worldwide.
In 1985, the Museum of Modern Art in New York opened a gallery that claimed to exhibit the most-renowned works of contemporary art of the time. Of the 169 artists chosen, only 13 were women. As a result of this, an anonymous group of women investigated the most influential museums of art only to find out that they barely exhibited women's art.
The absence of women from the canon of Western art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?", examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and ...
This view of communication promoted a "deficiency model" asserting that characteristics of speech associated with women were negative and that men "set the standard for competent interpersonal communication", which influences the type of language used by men and women. These early theories also suggested that ethnicity, cultural and economic ...
Contemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity, family, community, and nationality. In English, modern and contemporary are synonyms, resulting in some conflation and confusion of the terms modern art and contemporary art by non-specialists. [1]
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Baudrillard himself, since 1984, was fairly consistent in his view that contemporary art, and postmodern art in particular, was inferior to the modernist art of the post World War II period, [16] while Jean-François Lyotard praised Contemporary painting and remarked on its evolution from Modern art. [17] Major women artists in the Twentieth ...