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The story of these objects come together to challenge the systematic issues that women continue to face today. These feminist artists, and feminist voices, offer insight into the Feminist Art Movement that examines feminist history and advocates for change in the art world.. The six artworks I’ve displayed fall under the theme of Feminist Activist Art, and sub-themes of Sexual Identity and Representation and Representing the Body in Women’s Art represent and continue to positively change art. However, it is important to note that women are still fighting for equality as female artists and as females in general.

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My art exhibition introduces feminism and the feminist art movement, and highlights how these are expressed through female-made art. I've presented six contemporary works of art (1970s-present) that express the beauty of what it is to be a woman. Physical beauty is seen through the body and shape of a woman, facial features, overall styles, and more. The exhibition will be based on the theme “Feminist Activist Art,” and two sub-themes, “Sexual Identity and Representation,” and “Representing the Body in Women's Art.” These will then help to argue how feminist art contributes to the reformation of social expectations, such as those that perpetuate what it is to be a woman. The contemporary artists (Judy Chicago, Cindy Sherman, and Soheila Sokhanvari) whose work I've gathered can further be used to advocate for growth in gender roles and equality, as these are still struggles that women face today.

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This theme is important in feminist art as it allows for women to express themselves. By representing women's physical bodies in art, it comments on issues of gender and personal identity. It relates to the beauty of women and the beauty in having the power to reproduce. The female body plays an essential role as a medium for art. By involving women's bodies in art, it provides a sense of control for women as well as examines further issues of gender roles.

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This theme represents how identity and representation of women are viewed from a man's perspective. It helps to challenge how the body and beauty of a woman is perceived. This theme also resembles the idea of how women are represented as individuals and as a whole in society. Through exploring gender and sexuality of women in art, it can allow for men to understand women on a deeper level.

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This theme delves into art made by women that challenge the power of men over women, and to expose the stereotypes of women. Common sub-themes are gender roles, housework, patriarchy, and more. The ultimate goal of this theme is to have others gain exposure to art and society through a woman's perspective. The first two artworks displayed involve this recognition, as they demonstrate and challenge gender roles and gender equality. The artworks shown help to influence other women to be supportive of other women's art.

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Cindy Sherman, Untitled Film Still #6, 1977, Gelatin silver print, 9 7/16 × 6 1/2 inches, [currently located at Museum of Modern Art in New York, NY].

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Cindy Sherman, Untitled Film Still #6, 1977, Gelatin silver print, 9 7/16 × 6 1/2 inches, [currently located at Museum of Modern Art in New York, NY].

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Like Untitled Still #2 from the same collection, “Untitled Film Stills,” this still references the stereotypical portrayals of women. Rather than showing vulnerability, in this portrait, the woman lying represents the positive femininity traits, such as gentleness, kindness, compassion, and more. By showing her body in the photo, it allows the woman to express herself and her feminine side. The significance of the black and white is to depict an earlier timeline and to signify the feminist art movement. Black and white also help the viewer to focus on the deeper meaning behind the photo, rather than viewing it for its colors.

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Cindy Sherman's Untitled Film Stills is a suite of seventy black-and-white photographs in which the artist posed in the guises of various generic female film characters, among them, ingénue, working girl, vamp, and lonely housewife. Staged to resemble scenes from 1950s and '60s Hollywood, film noir, B movies, and European art-house films, the printed images mimic in format, scale, and quality the often-staged "stills" used to promote films. By photographing herself in such roles, Sherman inserts herself into a dialogue about stereotypical portrayals of women. Whether she was the one to release the camera's shutter or not, she is considered the author of the photographs. However, the works in Untitled Film Stills are not considered self-portraits.

Additional text from Seeing Through Photographs online course, Coursera, 2016

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Cindy Sherman. Untitled Film Still #6. 1977 | MoMA

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Cindy Sherman. Untitled Film Still #6. 1977. Gelatin silver print. 9 7/16 × 6 1/2" (24 × 16.5 cm). Acquired through the generosity of Jo Carole and Ronald S. Lauder in memory of Eugene M. Schwartz. 815.1995. © 2023 Cindy Sherman, courtesy of the artist and Metro Pictures, New York.

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Cindy Sherman, Untitled Film Still #2, 1977, Gelatin silver print, 9 1/2 × 7 9/16 inches, [currently located at Museum of Modern Art in New York, NY].

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Cindy Sherman, Untitled Film Still #2, 1977, Gelatin silver print, 9 1/2 × 7 9/16 inches, [currently located at Museum of Modern Art in New York, NY].

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This #2 still is one of many in Sherman's collection of "Untitled Film Stills" as each image creates a unique scene. This still is filled with meaning for artist Cindy Sherman. It references the stereotypical portrayals of women. She first started this series in her own apartment for her scenes (as shown). In this still, the woman Sherman is acting out, she is in need of self-reflection when she looks in the mirror. There may be multiple truths she is reflecting on.

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Judy Chicago, Through the Flower 2, 1973/2021, Mixed media on glass with light box, 34 x 34 x 2 inches, [currently located at the Turner Carroll Gallery in Sante Fe, New Mexico].

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Judy Chicago, Through the Flower 2, 1973/2021, Mixed media on glass with light box, 34 x 34 x 2 inches, [currently located at the Turner Carroll Gallery in Sante Fe, New Mexico].

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This piece resembles the sexual representation of women through the symbolization of flowers. Flowers can represent romance, beauty, nurturing, elegance, caregiving, and more. Chicago writes in her autobiography “Through The Flower: My Struggle as a Woman Artist” “I felt myself …moving through the limits of the female role. I used the flower as a symbol of femininity…the petals of the flower are parting, and one can see an inviting but undefined space, the space beyond the confines of our own femininity…my longing for transcendence…my first steps in being able to make clear, abstract images of my feelings as a woman.”

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Soheila Sokhanvari,  MKULtra 9, 2020, Paint, Egg tempura on calf vellum,7 1/8 x 4 3/4 inches, [currently located at Kristin Hjellegjerde Gallery].

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Soheila Sokhanvari,  MKULtra 9, 2020, Paint, Egg tempura on calf vellum,7 1/8 x 4 3/4 inches, [currently located at Kristin Hjellegjerde Gallery].

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By exposing the female body, this is a challenge and opportunity to “reclaim” the female body. This painting moves past typical stereotypes of female bodies and attempts to reform them into something more positive. Women struggle with their body image due to the male gaze, so it is important to challenge it. When focusing on the woman’s posture and expression in the painting, she seems as if she is unbothered, perhaps by the male gaze. Men often seek a reaction out of women, and this woman challenges the male gaze by disregarding negative connotations about herself, and women as a whole.

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Soheila Sokhanvari,  The Dancing Queen, 2019, Paint, Egg tempura on calf vellum, 12 1/2 x 9 3/8 inches, [currently located at Kristin Hjellegjerde Gallery].

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Soheila Sokhanvari,  The Dancing Queen, 2019, Paint, Egg tempura on calf vellum, 12 1/2 x 9 3/8 inches, [currently located at Kristin Hjellegjerde Gallery].

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The title here is named after the song by the Swedish group ABBA, released in 1976. The song is a catchy and euphoric beat that encapsulates the carefree bliss of youth and makes a great backdrop for the story of Iran’s most famous female dancer. This female, the Dancing Queen, portrays what it is to be a woman: strong minded and exudes confidence. It is important to consider how she is dressed, her body posture, and her facial expression.

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Judy Chicago, Peeling Back, 1974, offset lithography on rag paper, 28.5 x 22 inches, [currently located at the Turner Carroll Gallery in Santa Fe, New Mexico].

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Judy Chicago, Peeling Back, 1974, offset lithography on rag paper, 28.5 x 22 inches, [currently located at the Turner Carroll Gallery in Santa Fe, New Mexico].

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Chicago embraces the beauty and truth of all women when representing this piece. This art piece mimics one of her other creations titled "Through the Flower 2" as they both resemble the identity of women. Chicago's initial inspiration for this piece was her feelings of rejection and diminishment from other men. In this Chicago described how she “peeled back” the structure to reveal the formerly hidden form. "What a relief to finally say: 'Here I am, a woman, with a woman’s body and a woman’s point of view.'”

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Judy Chicago was born July 20, 1939 in Chicago, Illinois. She is an American Feminist artist, author, educator, and author. She is widely known for The Dinner Party event celebrating women's history Changed her last name to "Chicago" to identify herself as an independent woman.

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Creates Contemporary art, Feminist art Education: 1964 Masters of Art, University of California 1962 Bachelor of Art, University of California Member, Phi Beta Kappa. Her art has been frequently exhibited in the United States as well as in Canada, Europe, Asia, Australia, and New Zealand.

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Cindy Sherman was born January 19, 1954, in Glen Ridge, NJ. She is an American artist who creates self-portraits through photography. By photographing herself in such roles, Sherman inserts herself into a dialogue about stereotypical portrayals of women. She is a feminist icon to many.

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Sherman first obtained a degree in painting, but later switched to photography. She has been a photographer for four decades and is known for creating different identities through her photographs. "One person, many faces."

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Soheila Sokhanvari was born in 1964, making her only 59 today. She is an Iranian-born British artist. Works and lives in Cambridge, UK today Sokhanvari is a feminist role model.

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She works with egg tempera and paints onto calf vellum. Her works are symbolic and she wants the viewer to "complete" the piece. Education: MFA Fine Art, Goldsmiths College, University of London, London and PGDip Fine Art, Chelsea College of Art and Design, London BA Hons Fine Art & Art History, Anglia Ruskin University, and Cambridge.