Robin Zelenka Critical theory Sept 2011

Addressing Feminism in the Twenty-First Century Controversy has continued within the discussion of the role of feminism in the twenty-first century, and how the female artists of today will fit into what has become known as the third wave . Defining measures have attempted to categorize and separate previous events and levels of political movements to establish a more precise picture into when the changes in the social structure have occurred and the role the artists have provided. By creating these divisions, todays artists will be able to identify how their work will attribute to the impact of feminism. First wave feminism was believed to have begun around the middle of the nineteenth century during the struggle of the abolitionist women fighting to gain a release of oppressive laws that ruled women almost the same as those that had ruled slaves. These women were not working to gain concessions that would replace the legal hurdles, but to gain their right to have self-ownership. (McElroy) Many individuals regard this as what the true origins for the meaning of the word, feminism , although this basic meaning had been reinterpreted throughout the movement s political agenda. This wave also continued and grew stronger with the struggle of the suffragists well into the early twentieth century when women won the right to vote. The line between the first wave and second wave tends to get somewhat blurry, because there never was a complete stop to the movement only a cease fire of the bombardment from the attention of the media and the general public which happened with the women s right to vote enactment in 1920. Work by artists like Georgia O Keefe who used watercolors to create beautiful organic looking flowers appeared to fit nicely into the art world s feminist transition as critics observed Freudian interpretations. Some thirty years later the civil rights movements began along with the onset

Robin Zelenka Critical theory Sept 2011 of the Vietnam War which contributed to the ideas that fueled the reemergence of the feminist struggle for liberation. Second wave feminism emerged in response to the uproar created by the political shift that transpired from the protests that had created many changes in the foundation of the American social structure. (Kinser) During this time, female artists like Faith Wilding and Mary Beth Edelson tried to reclaim their own bodies from the oppressive nature the patriarchal society had been holding over them by using the female womb and breast in their sculptures as their symbols of power to regain control. Even though this strategy became popular within the female artistic community, there is a general presupposition in the work that makes all women female and bases that on the ability to bear children. (Jenkins) The 70 s-80 s became both a prolific and powerful time of expression for women artists who acted with courage believing that they had nothing left to lose. Artists like Judy Chicago built monumental pieces requiring hundreds of man hours to construct her Dinner Party which sent a powerfully direct message about women throughout history. Other artists approached the subject of feminism directly by using performance based art. Yoko Ono s Cut Piece from 1965 demonstrated an uncanny submissiveness to her audience, but showed the public how the female body is a battleground. Some felt that this was both frightening and exhilarating and this stirred people up. (Langer) Courageous actions notably attributed to the artists of this second wave helped to raise the awareness and create an even stronger foundation in which to build upon. Regardless of the efforts our predecessors, twenty-first century feminism has an additional hurdle to jump before the third wave can truly be considered to stand on its own, and that is postfeminism. Postfeminism creates a lie by asserting the argument that any further feminist activity will inevitably move us backwards in equality, and that the gender equity has claimed its own space as part of a natural cultural evolution. (Kinser) By thinking in this manner we have falsely convinced

Robin Zelenka Critical theory Sept 2011 ourselves that we have already achieved everything that we had originally set out to accomplish and that no further action is necessary. As a teen in the midst of the second wave , and a young woman growing up like so many others confused by the messages of postfeminism, I have always had a very difficult time knowing where to stand in regards to this issue. I have never believed myself to be a feminist. A feminist was not looked upon favorably where I grew up, not because of growing up in a home with both a male and female role model, but because they never acted like they had any unresolved issues regarding how either of them was being treated within the society. Each of them had respectable jobs and had elevated as far as they could within them. They equally shared responsibilities around the house by dividing tasks based on what they were the most comfortable doing, not based on any classification that was identified as adhering to strictly gender based roles. Many opinions that I formed were based on how I was raised and were also established by others in similar circumstances and which if placed within the context of the society added to the strength of the ideas formulated through postfeminism. Attempting to establish a connection with a third wave may be easier for those fostered within the dualities and the pluralism of the postfeminist thought than those deeply embedded inside the politically charged second wave . The feminists of the second wave broke down many of the barriers that were established within the patriarchal society; although in doing so created new obstacles for those of the third wave . Politically based feminists of the past have been known to make concessions to obtain certain goals such as free speech and better careers leaving behind them pornography and reverse discrimination. These feminists have steered clear of organized religion because of their stance on abortion and outdated stereotyping, but could have used their help in the fight on sex trafficking.

Robin Zelenka Critical theory Sept 2011 (Chesler) Twenty-first century feminists or third wavers have to return to their grassroots that started back in the first wave that was for pure equality for all humans regardless of gender. As an artist working within the third wave we must look into the type of approach we must use in active participation of our ideas for equality. We must create art that transcends the boundaries between genders and by doing so we can deconstruct what society has labeled as masculine and feminine and provide an openness that allows a smoother gender evolution. A couple of artists that have been successfully adopting this ideology have been Barbara Kruger with her use of non-gendered specific words overlaid on advertisements, and Martha Rosler who also uses an advertisement based two dimensional work , but compares freedom of some women while others still remain oppressed. Neither of these women used gender as the power of their message. Artists of today should carefully examine their work specifically if they are attempting to target issues within the third wave of feminism. We have to get back to our original aspirations of a complete human equality regardless of gender and relinquish the blame that those of the second wave had so feverishly targeted. Linda Nochlin best describes how to make these critical choices and how to be proactive in the discourse with this statement: Disadvantage may indeed be an excuse; it is not, however, an intellectual position. Rather, using as a vantage point their situation as underdogs in the realm of grandeur, and outsiders in that ideology, women can reveal institutional and intellectual weaknesses in general, and at the same time that they destroy false consciousness, take part in the creation of institutions in which clear thought--and true greatness--are challenges open to anyone, man or woman, courageous enough to take the necessary risk, the leap into the unknown. (Nochlin) In order for each of us to be an active participant we must first recognize what exactly is the dominant factor that keeps us at a disadvantage and learn to create work that not only is in opposition to this power, but that which can provide an alternative solution to these problems. (Jenkins)

Robin Zelenka Critical theory Sept 2011

Bibliography
Chesler, Phyllis, Hughes, Donna M. "Washington Post." 22 February 2004. uri.edu. 28 August 2011 <http://www.uri.edu/artsci/wms/hughes/21st_century.pdf>. Jenkins, Britney. "The Rhetoric of Feminist Art: Three Strategies and the Strategy that Shook the Feminist Struggle." 06 May 2010. Rhetoric and Civil Rights. 20 August 2011 <http://siteslab.org/courses/jjack/316/node/139>. Kinser, Amber E. "Negotiating Spaces for/ through Third-Wave Feminism." NWSA Journal, Vol. 16. No. 3 (2004): 124-153. Langer, Cassandra L. "Feminist Art Criticism: Turning Points and Sticking Places." Art Journal, Vol. 50, No. 2, Feminist Art Criticism (1991): 21-28. McElroy, Wendy. "21st-Century Feminism." 17 March 2002. Liberator. 20 August 2011 <http://liberator.net/articles/McElroyWendy/21stcenturyfem.html>. Nochlin, Linda. "Why Have There Been No Great Women Artists?" Women, Art, and Power, and Other Essays. New York: Harper and Row, 1988. 145-178.