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Feminist researchers and commentators tell SBS News this is because feminism seems to have dipped out of the pop culture spotlight, with social commentators questioning whether rhetoric proffered by the likes of Beyoncé - who sang about waking up "flawless" at the VMAs - has achieved much for gender equality.

Based on a global average of 31 countries, 53 per cent of people agreed with this statement, up from 42 per cent in 2019.

Kanai says the global political climate, in which Donald Trump is the president of the United States, and far-right groups have made political gains, including in Germany and other parts of Europe, could make it harder for people to identify publicly as feminists.

"But I think this very backlash shows that it's really desperately needed."

Has feminism achieved its goals?

"I think following that, there's still a kind of questioning of what to do with that because we're recognising that these are systemic issues and have been going for so long that how do we actually move forward and create better spaces - spaces for everyone."

"That kind of feminism didn't bring real investment from men. It lacked a lot of insight on material things," Tu says.

What I want feminism to do is result in policy changes, close the gender pay gap, raise minimum wage and make sure that domestic caregivers are being paid - basic stuff like that.

Tu says feminism is more important than ever because "we haven't solved any of those [material] issues".

"There's still people volunteering for domestic violence shelters and the women who are working in abortion shelters in America, women who are helping rehouse refugees in the Middle East, all these things."

The issue of 'white feminism'

She says feminism is in need of a "transformation" because white feminism has unfortunately become common and doesn't serve to further advance all women.

She says the Black Lives Matter movement, which started in 2020, helped to raise Australians' consciousness about issues of racism, but it came at the expense of Black American man George Floyd's life.

We can talk about racism now - not that mature evolved level that I would want, but at least we can say it. We can verbalise it.

According to a 2024 WoCA survey of over 1,000 women of colour in Australia, two-thirds experienced discrimination in the workplace - an increase WoCA attributes to people being more empowered to identify discrimination.

Do young people care about feminism?

Among Australians surveyed, 46 per cent agreed with this statement, though the data wasn't available by age or gender.

But he has concerns about the views on women he has observed coming from some of his male peers and cites the popularity of messages from online 'manfluencers' such as Andrew Tate as a contributing factor.

"I think lots feel alienated, some feel persecuted or threatened as if they have something to lose from the better and more equal treatment of women, which is silly, but that's something that's happening."

"Donald Trump came into office when I was 11, and this is someone who, speaking objectively, has a pretty poor track record of saying horrible things about women," he says.

We've been exposed to a culture which has been part of what's enabling young men to get away with saying or thinking offensive things.

The 22-year-old says she wouldn't use the label feminist, but understands that it's useful for starting conversations about equality.

Young-Glasson says so many people her age "feel really disempowered" and that the social problems they have are insurmountable.

I think it's really important, though, to understand that that's not true.

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Are people giving up on feminism in 2025? It's complicated

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Feminism seems to have slipped out of pop culture, as people take stock and suffer a backlash, feminists say.

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A New Wave of Feminism — Strong, Soft, and Unapologetically Feminine

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Why Embracing Femininity Is the Ultimate Rebellion Against Hyper-Independence

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“Men are trash” seems to be the personal slogan of many boss ladies today.

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Why Women Are Leaving Men Behind: A Response to Modern Misogyny

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For centuries, women have endured an oppressive mix of manipulation, gaslighting, and bullying from men who seem determined to dismantle…

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GENDER ROLES | RELATIONSHIPS
Feminism has achieved what it was set out to do, and now that women are considered equal, 'feminists' want more. The movement is ruining modern relationships, and it's bringing about the downfall of men.
This is according to Zach Nold, an opinion columnist from an independent student publication, Daily Nebraskan.

Now, I'm not here to judge nor attack feminists. I will simply be presenting my thoughts in relation to my experience as a relationship expert.

The following are the topics that Nold discussed:

The gender gap favoring females in college enrollment and the workforce.

The idea that feminism has "overreached" and is now hurting women by ruining modern relationships.

The claim that feminism is bringing about the downfall of men.

Since there were a lot of topics covered, I will only be focusing on the matter on which I can speak with authority - the impact of feminism on modern relationships.

Allow me to share my thoughts with this take: Due to their increased independence and focus on their careers, many women have lost sight of how to build relationships based on mutual understanding and cooperation.
In many cases, relationships have become more of a competition, with feminism turning it into a contest for equality. And as a result, men and women no longer have an idea of who's supposed to do what. They're now confused about traditional gender roles and expectations, leaving them unsure of their roles in relationships.
I know someone who has experienced this issue. His partner wanted to be fair and equal in the relationship. However, this led to a lack of clarity in their roles and responsibilities, causing frustration and conflict.

For instance, he would offer to pay for their dates, but his partner would insist on splitting the bill. This makes him feel emasculated and unappreciated.

On the other hand, his partner would sometimes want him to take the lead in decision-making, but he wasn't sure if that was still expected of him in their relationship.

It's a mess, really.

One question, one answer - not really.

Let's take a step back and remember what feminism is all about. It is about equality, not competition. It's about giving women the same opportunities as men, not about tearing men down.

And let me tell you, equality is not a zero-sum game. It doesn't mean that if women have more opportunities, men automatically have less.

In fact, it benefits everyone when both men and women have equal opportunities and are able to pursue their passions and aspirations.

So I believe it's not feminism that's causing this confusion, but the lack of communication and understanding between partners.

Relationships are not about adhering to traditional gender roles, but about finding a balance that works for both partners.

Case in point, if one partner wants to split the bill and the other wants to pay for everything, they should discuss it and compromise. And the same thing goes with other instances.

It's not about who's supposed to do what based on their gender, but about what works for the individuals in the relationship. And believe me, that's not a bad thing.

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Feminism has achieved what it was set out to do, and now that women are considered equal, 'feminists' want more. Is it really happening now?

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I Want Kids by Lara Schnitger | Art.Salon

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The artwork »I Want Kids« by artist Lara Schnitger – auctioned in March 2017 at Christies. stencil on plaid, cotton, fake fur, wood, zipper and pins overall: 83 1/8 x…

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BANNER RAD: Lara Schnitger and the Art of Fighting Back — Good Trouble

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PROUD SLUT.  SUFFRAGETTE CITY.  NO = NO. DON’T LET THE BOYS WIN. Want to take a guess at Lara Schnitger’s politics from the titles of her artwork? Schnitger, an LA-based Dutch-American artist, makes sculptures out of protest banners and protest banners out of sculptures. Ste

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Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.

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The Riot Grrrl Collection : Lisa Darms; Johanna Fateman; Kathleen Hanna : Free Download, Borrow, and Streaming : Internet Archive

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For the past two decades, young women (and men) have found their way to feminism through Riot Grrrl. Against the backdrop of the culture wars and before the…

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A few years ago, I started a collection at NYU’s Fales Library & Special Collections to document the feminist Riot Grrrl movement in its formative and most active years, from 1989 to 1997. Originally a reaction against the failures of punk to extend its DIY model of empowerment to women, Riot Grrrl encouraged young women …

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Showcasing, championing and supporting female creatives currently working in the design industry.

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View of Domesticity at War: Bringing the War Home in Martha Rosler’s “House Beautiful” Wartime Photomontages | Catalyst: Feminism, Theory, Technoscience

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Willyougetposted (@willyougetposted) on TikTok | Send in things you want to be edited x Official man hating page xxx.Watch the latest video from Willyougetposted (@willyougetposted).

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Similar to Steve dog will you get posted as a page that’s targeted to men from my Hinge page, or whether they’ve been inappropriate to me through my Instagram or life in general. There are even some people I know personally. It's to come are inappropriate messages and actions that people have made towards me and my friends.

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A lot of people agree with what I’m doing with Steve Dogg they don’t just find it funny but they understand the ethos behind it. It allows people to have a gateway to say what they wanna say behind someone else which yeah you might think it’s a bit of a pussy move however if you don’t feel comfortable enough to really open up how you want to say you have that as a way to say it I’ve also got people to join in with it to other people on the MA course are also involved in it, their accounts are called Gazthelad and Shazza 69, which do the same effect that I go for however they are Aston Villa fans and a stereotypical council state Mum there’s a sense of performance act within this that isn’t just a sense of fun and enjoyment with me and my friends but also a community of where as females can join together to troll men.

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Images for Steve Dog created via chat GBT

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Images for Steve Dog created via chat GBT

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Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.

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#First #selfie of #2k16! My #NewYearsResolution is to #CarryOn as #normal 😏.  -  #selfie #me #guy #jumper #happynewyear #NewYearSameMe #lol #selfieoftheyear #selfieoftheday #cheese #2016 #Nye #party

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What the most stereotypical football fans look like according to AI

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Fans of several of the UK’s biggest sides have been forced to confront the brutal reality laid bare by an AI generation of their club’s stereotypical supporter.

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Tony Bellew explores the rise and fall of football hooliganism in new 5 Live podcast

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BBC Radio 5 Live’s gripping new six-part podcast, Gangster Presents: Hooligans, delves into the dark side of the beautiful game

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Steve Dogg originated from me and my friend making jokes about football men and how it would be funny how we had an account trolling people and people thinking it’s real. we originally found the photo typing in standard white man picture on Google and this mysterious man’s flicker came onto our Google and the rest was history. Steve dog is like a typical football hooligan fan but with the way he looks she wouldn’t think it either because he looks really sweet.

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The point of Steve Dogg is to give irony and a dig to football hooligan fans, particularly men with football. We mock them to see how far we can go with it from posting things from at the pub to things we see in the street to create in Fake photos via AI. The point of Steve dog bow isn’t necessarily to have that bad stereotype. He’s just a guy who loves football particularly the blues who’s engaged loves his life but he’s with the people he hates racism he hates minimum misogynist so our page we go through comments and accounts to see whether they have ben or not or even people who have done this wrong to troll them and get under their skin because It’s funny but also for myself I wanted to navigate how much I could push and say as a male character/perspective rather than what I’d be saying on my account, as I am saying exactly the same things I would say on my main page but through a male persona but I feel like if it was through my account the direction And my safety measure would be completely different due to him being a man and me being a female.

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When I was a teenager, I would create collages from women's magazines like Vogue and Elle by cutting out the images I was drawn to and gluing them into new formations on computer paper. Strange and, to me, beautiful scenes came of this practice, this instinct to disassemble and reassemble visual aspects of the modern world-particularly women's bodies, objectified and disaggregated in order to sell things. I particularly remember a collage made only from eyes-a hundred different irises, pupils, and lashes arranged in a kind of altarpiece to seeing, staring back at me.

The photomontages on view at Martha Rosler: Changing the Subject... in the Company of Others, at Mitchell-Innes & Nash in New York through January 21, are at once striking and deeply familiar, whether you've seen them before or not. Made between 1966 and 1972, the works from Rosler's series Body Beautiful, or Beauty Knows No Pain, convey a radical and playful feminist analysis of advertising that has by now become conventional wisdom. In Cold Meat I and II, refrigerators hold red buttocks and breasts in addition to the usual suburban provisions; in Transparent Box, or Vanity Fair and Isn't it Nice..., or Baby Dolls models advertising lingerie are overlaid with breasts, lips, and pubis-the real products. Pop Art, or Wallpaper takes this critique to its natural conclusion with a medley of disembodied women's body parts organized almost like butterflies, sorted by genus and pinned to wood, limbs lined up to the point of abstraction. The show's inclusion of preparatory constructions and drafts of some of the works that hang on the walls suggests the humble tactility of Rosler's project: one can imagine her sifting through the magazines of the day, scissors glinting.

Martha Rosler, Bathroom Surveillance, or Vanity Eye, from the series Body Beautiful, or Beauty Knows No Pain, ca. 1966-72

Martha Rosler, Pop Art, or Wallpaper, from the series Body Beautiful, or Beauty Knows No Pain, 1966-72

There's a cutting cleverness to Rosler's collages, a dark wit that might as easily veer into horror, like laughing hysterics tipping over to tears. While the models, with their orange tans and full bosoms rendered in the washed-out vibrancy of film at the time, insist on their 1960s provenance, they also advertise a story out of time. Like Christian saint martyrs depicted holding their own body parts as proof of their purity (Saint Lucy holding her eyes, Saint Agatha her breasts), these women are dismembered and rearranged by Rosler in order to expose the primacy of this mandate: that to be good is to be disembodied. What if wholeness could be achieved not through the purchase of a bra or dishwasher, but some other way?

Martha Rosler, Nature Girls (Jumping Janes), from the series Body Beautiful, or Beauty Knows No Pain, ca. 1966-72

In House Beautiful: The Colonies (1969-72), Rosler critiques Cold War-era competition with the Soviet Union. These works are reminiscent of her series House Beautiful: Bringing the War Home (1967-72), in which House & Garden -style magazine spreads showcasing lavish homes are infiltrated by images from the Vietnam War, scenes of violence and horror wrought by America's fear of Communism, of having our things taken from us. "I saw the clear reference to the home itself as being central to our ideology of why we were fighting people abroad," Rosler has said, pointing also to all the ways in which imperialism and colonialism might be understood in tandem with patriarchy.

Installation view of Martha Rosler: Changing the Subject... in the Company of Others, Mitchell-Innes & Nash, New York, 2022-23

Installation view of Martha Rosler: Changing the Subject... in the Company of Others, Mitchell-Innes & Nash, New York, 2022-23

There are a few comics and conceptual works on view as well. Selected works of sculpture and installation include Diaper Pattern (1973-75), where cloth diapers are scrawled with xenophobic and anti-Vietnam sentiments. A grassy airplane's outline on the ground called B-52 in Baby's Tears (1972) is a bit ineffectually overt. In Objects With No Titles (1971-73), lingerie and children's clothing are stuffed and hanging, ghostly comical disruptions of the idealized female form found in advertisements across the gallery. Nearby, atop a mini mattress, a slip is outfitted with a mechanism and audio to simulate the rise and fall of breath.

Later installations and videos, like A Gourmet Experience (1974) and Semiotics of the Kitchen (1975)-in which Rosler, humorously deadpan, demonstrates the uses of various kitchen items to ridiculous and even violent ends-critique the domestic space. But here, the power of Rosler's vision is best conveyed in her photomontages: a cutting apart and putting back together to analyze the patriarchal uncanny-exposing the violence and vanity, the unfreedom and absurdity of the way things are. Like Saint Lucy both holding her gouged out eyes while seeing through those planted firmly in her head, this rearranging-the reclamation that is collage-creates the perspective of a sight regained after it's been taken.

Martha Rosler, Still from Semiotics of the Kitchen, 1975. Black and white video, sound, 6 minutes, 35 seconds
All works courtesy the artist and Mitchell-Innes & Nash, New York

"It points to the compartmentalization that people are used to producing in how we live our lives," Rosler has said of her work on American wars fought abroad. But her words could as easily point to a range of disassociations and divisions-almost three years into a global pandemic it's never been clearer how inextricable are our fates, how fundamental our collective reliance, how we resist it at our own peril. This habit of disassembly "prevents us from being a whole society and from being whole individuals," Rosler says. "We are not a here and a there. We are all one, and this is crucial."

Martha Rosler: Changing the Subject... in the Company of Others is on view at Mitchell-Innes & Nash, New York, through January 21, 2023.

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The Cutting Cleverness of Martha Rosler's Collages

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The artist's early photomontages from the 1960s and '70s present a world both striking and deeply familiar in its critique of patriarchy and consumerism.

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Erin M. Riley - "Simple" | 4 - 25 March 2017

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Hashimoto Contemporary SF is pleased to present "Simple", a solo exhibition by Erin M. Riley. The Brooklyn based artist will debut a new series of weavings, examining themes of sexuality, violence, and identity. Riley's meticulous hand-woven tapestries are intimate portraits into past experience, of both personal and communal memory. The...

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Article by Romily Alice in London // Friday, Jan. 20, 2017

Erin Riley 's work is a perpetual fusing of the virtual and the real. Marrying modern concepts with traditional technique, Riley weaves our online lives into large-scale tapestries, asking questions about the value of labour in a time of instant gratification. Working with both found and donated images, Riley's recent work aims to challenge the stigma surrounding women's sexual agency by documenting the artist's own use of pornography as a tool for pleasure. The work seeks to showcase a reality that goes against the traditional patriarchal narrative of women's sexuality being positioned in relation to that of a man, or an other; carving out a much needed space in which to talk about women's sexuality in relation to the virtual.
Romily Alice: Much of your work takes the virtual and weaves it into IRL tapestries; is there a wider comment on the relationship between the real and the virtual that can be taken from your practice?
Erin M Riley: Yes. I experienced most of my youth through images; be that yearbooks, getting to know people by their names or their sports, or through online communities that brought together people with similar interests. The deeper I got into the internet, the more I realized the disconnect between what was real and what was a façade for the internet. By slowing down the process to create images, I am trying to slowdown the viewer and help us all appreciate what's really happening in pictures.
RA: Do you think that the digital has affected the way that we understand crafts such as weaving and textile art?
EMR: Of course. I have heard that there was a time when most people in Massachusetts (where I grew up) had looms in their homes. Where people repaired their clothing or made garments and household items before going to the store to buy them. Most of the behind the scenes processes of textiles are hidden nowadays. We go to a store and we buy a pair of pants, oblivious to the fact that threads were made, material is woven, cut and sewn, shipped, etc. Much like food, water and other resources, we take the process for granted. We all wear textiles and yet most people don't know how they're made. I think if people knew how much work went into their clothing or if they had to make it themselves, there would be less of everything in the world.
RA: Do you get a sense that the historical associations of weaving and textiles with 'women's work' have an impact on the way your pieces are viewed?
EMR: For me, the term women's work almost doesn't mean anything. I understand the historical context of women's work referring to the work women did in the home, or domestic activities, but I learned about textiles in an academic setting, and because of that the people using textiles simply used them, their gender wasn't an issue. It was their medium of choice and it didn't restrict their scale or grit. I have met and spoken with people who use weaving in their work-who are from my grandmother's generation-and their choice to weave was not because they were restricted to that medium, it was because they chose that medium, despite or in spite of it having this 'lower' ranking in the art/craft world. That was something that I hadn't considered. You hear stories of Anni Albers traveling with Josef to Yale and teaching Sheila Hicks from their home because textile art wasn't offered at Yale. Despite peoples' dedication to the medium, society didn't support it. In furthering textiles' delineation as women's work, we are keeping it isolated from critical dialogue, which it truly requires. I am tired of getting props on my technique, let's talk about content!
RA: Your artwork asks questions about observing and being observed. Why do you think this is so relevant in the current climate?
EMR: When I first started working with images that I found online, people were much less aware of composition and the details or the lighting of the images they were taking; they were simply capturing moments of their lives that they wanted to share. Now, with the normalization of self-publishing images and the awareness of being seen, imagery and our awareness of perception is more obvious. I am still surprised when I find out that someone isn't the way they present themselves online, because what was fun about the internet in the beginning was that everyone could be themselves without repercussions.
RA: Your series 'Year of Porn' is a body of work captured from screenshots of each time you have consumed pornography. Has pornography become a more widely accepted expression of sexual agency?
EMR: No, it hasn't. It hits a nerve in people who were raised to be afraid. Most women believe or have been brainwashed to believe that it is irresponsible to open yourself up to the opportunity of sexual trauma. Much of the language we use to discuss sexuality taps into misogyny and a victim-blaming rhetoric that requires women to be modest and chaste. I support modesty, but most of society supports modesty and having a future as a woman that contains spouses and children. I personally am trying to reflect a reality in which sexual independence is not looked at as filling a hole where a spouse, a child or a father would sit. By speaking about pornography, as adults, we can reflect our kinks, our desires, our needs: it can make couples feel closer but can also allow self-reflection and self-care that we all need regardless of our relationship status. I am so tired of people thinking that relational sex is the only respectable release, solo sex is just as important.
RA: Do you think that the proliferation of virtual images of women's bodies and sex is having an impact on the way that we understand and discuss women's sexuality?
EMR: I think there are amazing people who are adding to the conversation about women's sexuality and maybe by self-publishing images in which we find ourselves cute, we are supporting confidence and expression. I think the dialogue around feminism and the uniqueness of vulvas, the orgasm gap, normalizing menstruation, body hair, birth control, sexual health etc. are all helping women to have a more whole sex life.
RA: Some of your pieces examine aspects of womanhood that have a social stigma attached to them. Is there an attempt here to challenge our society's prescribed gender norms? What role does the concept of shame play in your work?
EMR: Shame controlled my young adulthood, it forced me into relationships that were toxic, it gave me nowhere to turn when I needed the most help. By holding the mirror up to myself I am challenging both my partners and myself to accept the entirety of my existence. Simply speaking there are many stigmas that are attached to the various things a person with a uterus goes through; the more we talk about these things in our conversations, the more people hear, then the less shocking they will be. When something has less impact, it holds less power, and so cannot be held against us.
RA: How would you describe your own relationship with the virtual?
EMR: I have spent most of my adulthood in relative isolation from social interactions, while also feeling connected because the internet acts as a window into many worlds. I have met partners, learned about my sexuality, learned life lessons, etc. The trolls and people who comment without spending any time understanding me or my work are what feeds my fire. It's a bizarre relationship.
erinmriley.com
HASHIMOTO CONTEMPORARY
Erin Riley: Solo Show
Exhibition: Mar. 4-25, 2017
804 Sutter Street, 94109, San Francisco, click here for map

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An Interview with Erin M Riley | Berlin Art Link

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Virtual Reality // Digital Intimacies, Physical Objects: An Interview with Erin M Riley.

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The Art Newspaper - International art news and events

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London exhibition remembers lost feminist pioneer Helen Chadwick

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The artist, who tragically died aged 42, left a legacy of profound and often witty work

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Learn more about the origins of ASMC and the change we want to make in the art world.

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Motion created by Ami from my riso scraps

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Motion created by Ami from my riso scraps

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An exhibition within the bene culture, where the work was a part of, old sketchbook pages, and samples, the concept was to showcase upcoming and established artist, with the way they work, develop and progress their work through varied media. I videotaped the exhibition with my camcorder (unfortunately, the content file arent compatibitly/currupted).

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Lisson Gallery is pleased to announce its first exhibition with Carolee Schneemann (1939–2019), one of the boldest and most influential artists of the twenti…

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Extra/ordinary : craft and contemporary art

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Extra/ordinary : craft and contemporary art

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The VleBooks online learning platform provides ebooks to Schools, Universities, and Libraries.

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scan riso: getting to the fullness- of ink I like.

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scan riso: getting to the fullness- of ink I like.

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ARAFURA Media Design on Instagram: "Moments from our exhibition at IMMERSIO 2024 in Kuala Lumpur Malaysia. In collaboration with @yosiaraduck @bibbymoon @tab____space @gengrambutan. Thank you for inviting us @wearefilamen @abdulsha_k 💙🌊"

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14K likes, 67 comments - arafura_mediadesign on April 8, 2025: "Moments from our exhibition at IMMERSIO 2024 in Kuala Lumpur Malaysia. In collaboration with @yosiaraduck @bibbymoon @tab____space @gengrambutan. Thank you for inviting us @wearefilamen @abdulsha_k 💙🌊". 

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Digbeth 1st Friday: where does the sex go? 

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Digbeth 1st Friday: where does the sex go? 