Lauren Greenfield is a documentary filmmaker/director, documentary photographer who has also worked with advertisements, famous people and has even made films of her own. She has been in many magazines and has been featured in art museums. Her documentary films mostly focus on women and the oppression and the power of the female gender and the media roles in their mental development and self confidence. These films are named Girl Culture, THIN, Beauty CULTure, Fast Forward and #likeagirl, and with these films in the filming process she made incredible photographs which truly caught her message significantly and these photography exhibitions has been featured in many museums. Along with these she also has made other films, like Kids + Money, and The Queen Of Versailles that focus on other subjects.
Ka-Boom! They 're making glass in Nevada! The first line of Clover’s poem immediately starts with both a metaphor and a not-so-subtle clue as to what the meaning behind it is. Figure August, 1953, mom 's 13, it 's hot as a simile. The beginning of the poem introduces us to the mother of the narrator, and tells us when the poem takes place.
Gerald Schwartz, A Woman Doctor's Civil War: Esther Hill Hawks' Diary. (Columbia: University of South Carolina Press, 1984. ix, 30lp. Illustrations, maps, bibliography, index. Born in Brooklyn, New York, Gerald Schwartz is a professor of history at Western Carolina University in Cullowhee, North Carolina. A graduate of Mexico City College, Dr. Schwartz holds a Ph.D. from Washington State University.
There was one chapter in the novel that stuck out, it was called “Do you believe him or me?”. Within this chapter Susanna contemplates the amount of time she spent with her doctor before he shipped her to the institution. Susanna explains to herself and readers that “The doctor says he
The years leading up to Judy Chicago’s first series The Rejection Quintet in 1974 saw a great amount of effort in finding her true identity as a female artist during a time which men made up the majority of the art scene. During the 1971 Rap Weekend in Fresno, Chicago, together with Miriam Schapiro, showcased works that used the central format of abstracted flowers or folds of the vagina. Chicago later reflected on the showcase stating that she could not express her own feelings as she met other women who were just as oppressed as she was through the struggles of being a female artist. The first piece of The Rejection Quintet, How Does It Feel to Be Rejected?, marks the acceptance of the struggles Chicago went through and her symbolic transition into what became her most iconic installation The Dinner Party. This paper will discuss the significance of Chicago’s, How Does It Feel to Be Rejected?, as it proved to be the first small step for her towards revealing the “central-core” for which she labels as her feminine imagery.
When her father died she was so sad and depressed that she tore up one of the paintings of her father that she painted when she was little, when her father was still young. When she finally started to accept her father’s death she began to show her work in New York galleries, where she long time best friend Edgar Degas bought many of her paintings to always keep her in his memory, because he knew that this would be the last time that he would be able see her, and her art work. The 1890s was her most creative time because she saw her world in a whole new light and wanted to capture it in her new paintings. She still didn 't move away for the mother and child love that she always drew, now the paintings were more vibrant with color and had more light and dark form the light of the
Analysis and Critical Inquiry: Blessed Art Thou Among Women (1899) Late nineteenth to early twentieth century was a formidable era for photography. A particularly talented portrait photographer by the name of Gertrude Käsebier made a name for herself in an industry often biased against female artisans. “She was known for her evocative images of motherhood, her powerful portraits on Native Americans and her promotion of photography as a career woman” (Masters of Photography). “She was associated with other famous photographers such as Edward Steichen and Alvin Langdon Coburn, Alfred Stieglitz and Clarence H. White. She became especially close to Clarence H. White and went on to collaborate on exhibitions and projects together, most notably the exhibit: Little Galleries of the Photo-Secession.
Recently the gallery show of Vigee Le Brun: Woman Artist of Revolutionary France opened up at the Metropolitan Museum of Art. Vigee Le Brun is best known as one of the most infamous artists at the time, as she was a woman, and women were not expected to enter the world of art, and better yet, not expected to become one of the most influential artists at the time to paint the portraits of many important figures in pre-revolutionary France. Vigee Le Brun painted multiple portraits of Marie Antoinette, queen of France, wife of King Louis XVI, and mother of four. Other painters. Vigee Le Brun was one of few who could paint out the queen’s charm.
At Howard she taught design and watercolor painting. O’Neal admits, “I was taking her class and a theatre class and it became very clear to me that I didn’t want to major in theatre because you had to depend on too many other people. Talk about prima donnas, they were there by the thousands—everyone was a great star” and even though O’Neal admits that she enjoyed her art classes more than theater, she said that Jones disliked her work because it was muddy. (O'Neal, 2009) Speaking about her experiences in Lois Jones’ classes with amusement she says: “She’d take us out into Rock Creek Park in the snow—she’d have us in eighteen feet of snow painting scenes of Haiti and none of us knew what the f__k Haiti was.” (O'Neal, 2008) Haiti was important to Jones—she had met her husband, the well-known Haitian painter Louis Vergniaud Pierre-Noel in 1934 when they were graduate students at Columbia University. It would be almost twenty years
Symbolism was seen throughout the texts Girl in Hyacinth Blue and The Things They Carried. The Vermeer painting was a symbol for each person or people in every chapter that came into contact with it. For example in chapter 4 titled Hyacinth Blues of Girl in Hyacinth Blue, the painting was a symbol of freedom for Claudine. Claudine expressed “betrayal-his or mine, it didn’t matter-freed me (Vreeland 104).” She had been cheating on her husband for a while and when she had gotten caught, she sold the painting to get to Paris and start a new life. In the first story, the painting was a symbol of guilt.