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Feminist art is the type of art associated with the 1960s and 1970s feminist movement. While women's vocal distaste for the era's suffocating ideals regarding femininity and gender norms was nothing new, this revolutionary category and style of art gave women a new platform to express their feelings and desire for change. Acting as a form of propaganda, feminist art highlights and accents the social and political constraints put on women during this time while simultaneously challenging out-of-date gender roles and expectations Feminist artists used their pieces to pose important and thought-provoking questions, forcing their viewers to rethink the toxic culture surrounding subsequent male and female stereotypes. This groundbreaking style of art paved the way for several future genres and created a much-need dialogue about the reformation of gender roles.

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Several movements, events, and advancements led to and further influenced the Feminist art movement. One such influence was the emergence of video art. Materializing only a few years prior to the rise of the Feminist art movement, video art provided a unique medium for women to express their ideas through art. Due to its young age, this style had not yet been commandeered by male artists and marked as their territory. Therefore, it supplied women with a channel to stake their claim and make their mark on the world of artistry.

Another significant event that led to the impact and spread of the Feminist art movement is the United Nation's first World Conference on Women. Held in Mexico City in 1975, the conference discussed specific social issues that were plaguing women in various countries and debated solutions. The conference sparked an interest and brough heightened attention to gender issues and constraints. This increased awareness led to several events and exhibitions that spearheaded the work of Feminist artists around the world. The United Nation's first World Conference on Women was instrumental in transforming the Feminist art movement to a global and world-wide movement.

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"Why Have There Been No Great Women Artists?"

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"Why Have There Been No Great Women Artists?"

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One of the most impactful and widely-known influences of feminist art was art critics-in particular, Linda Nochlin. In 1971, Linda Nochlin published her essay "Why Have There Been No Great Women Artists?", which analyzes the societal barriers that prevented women from receiving rightful recognition and acceptance in the art world. Acting as a "pioneering manifesto" and overall catalyst Feminist Art movement, this essay was monumental in altering the language and conversation surrounding female artists in their field (thoughtco.com).

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Mary Beth Edelson "Some Living American Women Artists" 1972

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Mary Beth Edelson was an American artist whose contribution was central to the birth, growth, and organization of the Feminist art movement. In one of her most famous pieces “Some Living Women Artists/Last Supper”, Edelson masterfully challenged societal prejudices and smothering patriarchal values. A play on Da Vinci’s “The Last Supper”, Edelson replaces Christ and his disciples with historic heroic female figures, both in the art world and outside of it. Designed to confront “the painting's male-only club”, this piece helped many recognize women’s exclusion from history and it opened the door for several other female artists to step up and take a stand.

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Judy Chicago is a pioneering feminist artist whose work was pivotal in the rise of the Feminist art movement. One of her most significant, impactful, and recognized art pieces is her painting entitled “The Dinner Party”. Illustrating a table set for 39 historically influential women, Chicago employs the use of symbolism mixed with satire to bring light to the countless women whose stories have been sidelined and whose achievements have been forgotten. In an interview with Chicago, the artist describes her painting as “a reinterpretation of The Last Supper from the point of view of women, who, throughout history, have prepared the meals and set the table” (theartstory.org). Due to the sheer amount of recognition and attention it attracted, The Dinner Party became important in prompting responses and change regarding the toxic gender roles and preconceptions. Chicago’s art shaped the trajectory of Feminist art and sparked conversations about necessary changes to stereotypical women’s roles.

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Guerrilla Girls "Do Women Have To Be Naked To Get Into the Met. Museum?" 1989

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The Guerrilla Girls are a group of anonymous, Feminist artists known for using various forms of art to “expose gender and ethnic bias and corruption” (guerrillagirls.com). The group was formed in New York in 1985 following the publication of shocking statistics regarding women in the art community. Since then, these activists have used their art to shed light on important social issues and fight against sexism and overall discrimination. Something cool and unique about the Guerilla Girls is that they utilize many different mediums of art to accent and underscore their cause, such as advertising-style pieces. These pieces are known to use humor and hypocrisy to attract the attention of the viewer and enlighten them to the very real obstacles faced by women, people of color, and other minorities in the art world. This collection of female activist artists have been and continue to be a significant part of the Feminist Art movement. Their bold and blatant attacks on social injustices normalized speaking out and gave courage to female artists everywhere.

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Martha Rosler was an artist and trailblazer for the early Feminist art movement. Her work explored the oppression and dissatisfaction of women in ordinary spheres of domestic life. This was significant because it was relatable to normal, everyday women that could identify with the emotions and ideals portrayed in her art. It gave overlooked and overshadowed women a place to feel supported, seen, and heard. Rosler was also unique in the sense that she explored video art as a means to educate viewers about these biased expectations of femininity. In stark contrast to society’s model of womanhood, Rosler’s six-minute film “Semiotics of the Kitchen” displays a housewife aggressively and angrily identifying and using kitchen appliances. It symbolizes the common unhappiness of women in their “assigned roles” and forces the viewer “to consider that for many women there was a repressive, constraining force, beneath the surface of domestic bliss” (theartstory.org)

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Martha Rosler - Semiotics of the Kitchen  1975

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Shirin Neshat is an Iranian artist recognized for her visual art pieces depicting and representing what it’s like to be a woman in the Middle East. Her works communicate the social polarization between men and women and illustrate how women are forced to play their part behind the scenes. One specific exhibition, The Women of Allah, contains portraits of various Muslim women. In these photographs, the women are often portrayed initially as hidden, covered, suppressed, and silent. However, Neshat is sure to display inner strength and resolve, symbolizing the potential and patience of these heroic and powerful women. The first to tackle this setting and subject matter, Neshat’s dauntless resolve to shed light on the injustices imposed upon women in the Middle East continues to be revolutionary as it furthers the Feminist art movement on a global scale.