From Judy Chicago to the Guerrilla Girls: an analysis of the evolution of feminist art movement

This thesis examines and analyzes the evolution in feminist art that contributed to and expanded the idea of change through protests and demonstrations in a patriarchal society. The Women's Rights Movement and Feminist Art Movement used many tactics, methodologies, and ideologies that proved successful for the Civil Rights Movement. The second wave of the Feminist Art Movement began in the late 1960s and 1970s. The Movement produced artists like Betye Saar, Faith Ringgold, Judy Chicago, and Miriam Schapiro. The Feminist Art Movement of the 1970s, labeled the second wave, mirrors the concepts of the Feminist Movement's foundation. The Feminist Movement primarily campaigned for gender equality. However, the second wave feminism also concentrated on educated white woman addressing their concerns about sex discrimination. The historic failure to recognize Black female artist is problematic when discussing the Feminist Art Movement as a whole. Faith Ringgold and Betye Saar are included in this thesis to critique the previously established art historical canon and emphasize the importance of Black female artists to the Feminist Art Movement. Collectively, these women frustrated by the male-dominated art world decided to take a stand and fight for equality and recognition through self-identity and self-awareness. In the 1980s and 1990s, a different form of protest emerged in the third wave of the feminist art revolution. Artists groups like The Guerrilla Girls continued to fight for self-awareness and equality. The key concepts of their art focused on political and social issues like abortion, higher pay, and equal opportunity in the workplace for female artists and artists of color. This thesis examines the trajectory of the Feminist Art Movement from the 1970s-present, focusing particularly on the 1970s to 1990s. The 1970s brought an awareness that women's rights needed to expand and women needed to have a choice in their futures. The 1980s and 1990s brought the Movement to a higher level of criticism by adding social and intersectional ideas to their agenda. The mid - late 20th century brought hope that female artists could change the conversation in the fight for equality on issues regarding race, gender, gender identity, and sexual orientation