In many high school art classes, women artists are not equally represented.
As a consequence, neither is feminist art. Barbara Krugers
work incorporates feminist views along with contemporary social
and political issues.
"I think that all sorts of art activities,
whether written, played, or visualized, are attempts to send messages
from one person to another. I dont think of it as news, but
rather as a kind of condensed communication conveyed with a deep
and startling economy."
Artcyclopedia,the Fine Arts Search Engine
Image and links to various Kruger pieces in museum collections and
articles about Kruger
Critique/challenge of objectification and oppression
of women &
Critique/challenge of male power as supported by patriarchal discourses
Pictures of 17 classic Barbara Kruger pieces
Holzers work is a good example of an investigation of "Truisms."
Her text-based art challenges the students idea of art. Is
it art if it is only words?
TRUISMS, an interactive Jenny Holzer piece
presented by the Walker Art Center
This group of artists resists the idea that legitimate art appears
only in the galleries. They use the streets as their gallery and
deal with issues of racism and sexism. They are also a collaborative
group with no one artist being the leader.
"We are a group of anonymous women
artists from New York City who formed in the spring of 1985 to combat
racism and sexism in the art world, using the media and the streets
to do this."
Official Guerrilla Girls Site
The site includes informative and funny texts concerning their history,
mission, and methods. Also, a great picture inventory of some of
the greatest Guerrilla Girl posters. (Most posters are available
for $20.00 each--a great addition for any art classroom!)
Copyright © by the Guerrilla Girls 1995
Thanks to the Guerrilla Girls for permission to reproduce for the
Elizabeth Sisco, Louis Hock, David Avalos
These artists collaborative work is seen in public places
using various advertising spaces. In their bus graphic piece entitled
Welcome to Americas Finest
from 1988 they used a space that would more typically be used to
promote tourism as an indictment of the exploitation of Mexican
"As public artists, our purpose is
not to make art for the public, but rather to express ourselves
as the public. We believe that the creative act involves not only
the artists initiative, but the community response."
For more information on Sisco, Hock, and Avalos (as well as many
other interesting contemporary artists from Americas diverse
communities) get the book, Contemporary
Art and Multicultural Education, edited by Susan Cahan and
Zoya Kocur, Routledge Press, 1996.
See photo of Welcome to Americas Finest Tourist Plantation
and other Sisco, Hock, Avalos public artworks.