Wikipedia talk:Education program archive/University of Washington/Global Feminist Art (Spring 2015)/gap analysis

Sophia Wallace

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

YOUR ANSWER HERE Sophia Wallace’s Wikipedia page is insufficient on a number of levels. Her subject description is a stark two sentences, unlike many male American artists, whose descriptions (like Jackson Pollock) run upwards of three paragraphs. In addition to this inequity, I found several gaps and blatant misinformation on Wallace’s page. Firstly, she is only referred to as a conceptual artist and photographer. Her performance art goes unmentioned, as does her revolutionary interactive performance exhibit Clit Rodeo. Her series, Modern Dandy, is mistakenly referred to as a collection of solely male portraits, when it is actually a series of photos of men AND women. These errors speak to the hetero-dominant nature of our society, and its inability to reconcile with female masculinity. Anyone who has looked (for longer than a second) at the Modern Dandy photos can easily identify women among the collection, yet discomfort with the idea of women in men’s clothes likely misinformed the editor of Wallace’s article. Furthermore, Wallace is the FIRST and ONLY artist to create an anatomically correct clitoris sculpture in the world, “Άδάμας (unconquerable),” which Wikipedia makes no mention of. Failing to include such an achievement is a massive oversight. Not only does this piece contribute to feminist art movement, but it is pivotal to Wallace’s career and artistic identity. All of this information can clearly be found on the artist’s website, which makes it difficult to believe that this simply went remiss during editing, and was not intentional. That being said, Wallace is also omitted from Wikipedia’s list of feminist artists, though her contributions are as remarkable as they are notable. But because the clitoris and female sexuality are secondary to male sexuality/phalli in our male-dominated society, Wallace does not receive the proper acclaim, and femaleness remains inferior. In addition to reinforcing sexual taboos, the original Wikipedia article sustains the secondary nature of female artists and female sexuality, structuring information in favor of today’s privileged male hegemony.

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YOUR ANSWER HERE Conceptual Framework (ORIGINAL WIKIPEDIA VERSION) Wallace incorporates the use of images, video, and mixed media in her work in an effort to explore alterity, the study of otherness and the focus on dismantling the concept of sameness. Wallace’s focus is to deconstruct how this concept of the other is represented within a visual framework. She examines how the visual has an impact on gender and sexuality. The focus is on the idea of what she calls the "racialized body." Wallace is trying to explore in her work the relinquishment of gender norms and stereotypes -- through images she examines and moves these issue to the forefront looking at the norms of gender.

Conceptual Framework (MY EDITED VERSION) Wallace utilizes photography, text, video, performance, and mixed media in her work in an effort to explore alterity, the study of otherness. Through her work, Wallace examines the effects of otherness on the LGBT community, while also attempting to dismantle sameness, and conformist notions surrounding human sexuality, including the understanding of the clitoris and female orgasm. In doing so, Wallace expands her “photographic practice and ongoing exploration of how power shapes knowledge, often through the use of the visual, for the purpose of the reifying hierarchy.” The relationship between power and sexuality guides Wallace’s work, and questions how gender is represented within visual culture.

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Harestten (talk) 15:19, 7 May 2015 (UTC)

Feminist Art

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The gap that I realized is on the Wikipedia page titled, “Feminist Art.” One thing I realized while looking at the page was that it fails to mention any important African or African American feminist artists. I found this gap by looking through the entire page and reading through all the important feminist artists that are written about who have contributed the feminist art. As I read each of the artist’s names, I realized none of these artists are African/African American. The page, however, did do a good job at not focusing only on white/European women by mentioning artists like Yoko Ono and Ana Mendieta, but I think it would be great if it did mention African/African American feminist arts. As we learned in class, we know that there are many different interlocking axes of power which make every person’s experience different. In this case, we know that it is not enough to mention just any women when talking about feminist art. We must also provide a variety of artists in terms of gender, sexuality, race, class, etc because it means different things to be a black feminist artist from the South, a white feminist artist from New York or a Japanese feminist artist. That is why it is important to try to represent different populations.

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There are also important African American feminist artists that have contributed to feminist art. In the 1980s there was a woman named Lorna Simpson whose work consisted of contemporary art. “Since the 1980s, Lorna Simpson has been challenging gender and racial stereotypes in her provocative photographs, installations, and film work” (Moffat 2005). One of her famous pieces is titled, “Untitled (Two Necklines)” from 1989. This image is of an African American woman’s chin to neckline. According to the Collection (National Gallery of Art), her pieces usually look at “issues of race, sex, and class. Like this one, her images are often truncated, replicated, and annotated with words that force the viewer to interpret.” According to the Annenberg Learner, she is known for similar images to the one described above, which show portraits of African American women. Another important African feminist artist is Amina Doherty from Nigeria. According to the International Museum of women, she is a self proclaimed artivist and she uses her art for advocacy and to help women around the world. She has been apart of many advocacy groups and boards which promote gender equality around the world. And as she said in an interview with justassociates.org , “I think my art and my activism have always been one and the same. As an all-ways’ feminist—sometimes writer, self-taught painter, budding photographer with a growing interest in filmmaking, wannabe DJ, and cultural curator—I feel compelled to ask questions, share experiences, tell stories, and to do that in a way that challenges oppression at all levels.”

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"Amina Doherty." International Museum of Women. N.p., n.d. Web. 07 May 2015. <http://www.imow.org/curating-change-2014/doherty#curator>. Moffat, Charles. "An Overview of Feminist Artists of the 20th Century." - The Art History Archive. N.p., 2005. Web. 07 May 2015. <http://www.arthistoryarchive.com/arthistory/feminist/20thcentury_feministartists.html>. "Untitled (Two Necklines)." Untitled (Two Necklines). N.p., n.d. Web. 07 May 2015. <https://www.nga.gov/collection/gallery/ggafamer/ggafamer-132078.html>. "When Art Meets Activism: Being a Young Feminist ARTivist." When Art Meets Activism: Being a Young Feminist ARTivist. N.p., n.d. Web. 07 May 2015. <https://www.justassociates.org/en/womens-stories/when-art-meets-activism-being-young-feminist-artivist>. "A World of Art - Biographical Sketch: Lorna Simpson." A World of Art - Biographical Sketch: Lorna Simpson. N.p., n.d. Web. 07 May 2015. <http://www.learner.org/catalog/extras/wabios/simpson.html>.

Halimaidris22 (talk) 16:43, 7 May 2015 (UTC)

Navjot Altaf

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Navjot Altaf is an acclaimed Indian artist whose has done extensive collaborative work both locally and internationally. Despite being mentioned in multiple wikipedia articles, there is no page for Navjot Altaf herself. There is however, a page for one of her pieces, (Untitled) Blue Lady. The sculpture is housed in Sir Christopher Ondaatje South Asian Gallery of The Royal Ontario Museum in Toronto, Canada, and is considered by the museum to be one of its most important South Asian art pieces. Yet it is surprising that this piece has a page, but Navjot herself does not. Especially considering how the article mentions that this piece is her first solo exhibit in the United States. Navjot Altaf’s work tends to be highly collaborative and located within India. The fact that the only page dedicated to her is neither of these things highlights how this gap may be due to a focus on western ideologies and perspectives on art, and what is considered ‘art’. Much of Navjot’s work is public art, which is a form of art that is often not as highly regarded. She also has done a lot of art in collaboration with local artists and craftspeople in India. In fact, Navjot is one of the few Indian artists that puts such a high importance to the participatory aspect of her work. As such, the disparity between ‘high art’ and class might also be at play. Navjot focuses on real life stories that center on feminist and social issues. Due to this, her art installations are often found in public, sometimes incredibly disadvantaged areas. This reach beyond famous art galleries, and her local versus international focus, may make her seem like a less notable artist.

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Navjot Altaf (1949-Present) is an Indian contemporary artist who lives and works in Bastar and Mumbai, India. In 1972, she received her Diploma of Fine Arts from the Sir J.J. School of Arts in Mumbai. From 1981-1982 she studied Graphics at the Garhi Studios in New Delhi. She is a multi-faceted artist who has been involved in collaborative projects with both Indian and international artist and is known for her video installations and photomontages. Navjot has worked extensively with Adivasi artists from Bastar Chhattisgarh in Central India to create site-oriented public art. She is one of the few Indian artists to put a high importance on the participatory aspect of her work. Her work focuses primarily on social themes relating to feminism and real life stories.

Some notable works:

Lacuna in Testimony, 2003 (3 channel video installation with 72 mirror pieces. Revisiting half-forgotten torments from the Gujarat riots)

• Attempts to listen to the testimonies of those involved in an effort to understand them.

Touch IV, 2010 (22 monitors video installation. A project with sex workers)

• Aimed to represent a group of people often looked down upon in society and show their relatable humanity and identity.

[Blue Lady], 1999-2002 (carved teakwood, metal, and indigo sculpture)

• Explores the contrasting ideas of South Asian culture including the indigo trade, village witch trials, and fertility goddesses.

Kopaweda Pilla Gudi (children’s temple built in Bastar)

• Created a meeting place for youth, as well as a place for collaboration and celebration of Adivasi culture.

Nalpar (multiple water pump site sculptures and enclosures)

• Aimed to beautify the site while increasing functionality and privacy for the women and children who use it.

Alexnburns (talk) 05:07, 10 May 2015 (UTC)

Shamsia Hassani

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The gap I found was the page for the artist Shamsia Hassani. Although she does have a Wikipedia page, it barely has anything about her and her work. It really has only about two sentences. She is new to the art scene, more of an upcoming artist, but there is still much that can be said about her. I was originally looking at Iranian artists, then I decided to look up Afghani artists and Shamsia came up in my searches. I thought her art which has primarily been street art/graffiti work was amazing. Her style is beautiful and challenges the gender norms and inequality in women's rights in Afghanistan. She also captures the destruction of past wars and current political affairs in her country. There are not many Afghani artists represented especially Afghani women. Her work not only showcases her life and her struggles, but the struggles of women in Afghanistan. Her work brings Afghani culture to the forefront. There is so much negative press on Afghanistan, her art work shows another side of Afghanistan. The true culture while advocating for peace and love. I think it is especially important to have artists like Shamsia to have their Wikipedia pages be current and with all the information that is needed. So people can learn about her, her art work, and culture. It’s important to hear the voices of those from countries like Afghanistan, so many times others speak for them. When what needs to be done is have these artists showcase their stories through their own voices. What I have so far is only one step into adding information to Shamsia's Wikipedia page, there is still much more and as time goes on, hopefully there will be more to add to her page.

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Current Version: Shamsia Hassani is an Afghani graffiti artist, fine arts lecturer, and associate professor of sculpture at Kabul University. [1] In 2014 Hassani was named one of FP's top 100 global thinkers. [2] In 2014 Hassani was shortlisted for the Artraker Award for her project "The Magic of Art Is the Magic of Life."[3]

Edited Version: Shamsia Hassani is a 26 year old graffiti artist, digital artist, and professor of the Fine Art Department at Kabul University. She was born in Iran in 1988, but is of Afghani descent. Her family is from the Kandahar province. Due to difficulties in gaining citizenship in Iran, she was unable to study in the Art department in Iran. She and her family moved back to Afghanistan in 2005 [1]. She studied at Kabul University from the Fine Arts Department, and now teaches there in the same department which began in 2009. Her work began to take notice when she started doing graffiti around Afghanistan. In December 2010 she attended a workshop in Kabul organized by Combat Communications [1]. There she learned the skills in creating graffiti by graffiti artist Chu who came from the United Kingdom. She continued doing graffiti and 3D street art around Kabul. Her work primarily looks at the women in Afghanistan. She depicts women either in burqas or without in blue silhouettes, as blue is her favorite color and to her means freedom in peace. Her women are not the stereotypical depictions, but a new form of woman that is strong, independent, and dynamic. In an interview with Art Radar she said, “I want to show that women have returned to Afghan society with a new, stronger shape. It’s not the woman who stays at home. It’s a new woman. A woman who is full of energy, who wants to start again" [2]. She has a series of digital graffiti work that is titled, “Dreaming Graffiti,” that are her dreams of pieces she would like to work on and showcase. One of them being a dream collaboration with Banksy. Her work has been seen in Switzerland besides Kabul. In September 2013, she visited Denmark for a youth program called World Images in Motion [3]. In October 2013, she visited America attending graffiti workshops [3].

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Vanessanourozi (talk) 02:51, 11 May 2015 (UTC)

Parastou Forouhar

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My interest in Iranian feminist art began before this class with Shirin Neshat and other Iranian artists, and one artist whose work is often placed side by side with Neshat’s is Parastou Forouhar. When I researched Shirin Neshat’s Wikipedia article I was surprised to not find her linked there, and then I searched for Parastou Forouhar and found her own article. The entry was very bare, without any photos of the artist or her artwork, and there were no mentions of her globally known exhibitions. Furthermore, she was listed as a political artist despite the fact that Forouhar has given interviews where she has called herself a feminist. Unlike Neshat, Forouhar does not have a list of her critically acclaimed collections, such as Signs, and there is no mention of her involvement with art movements such as Fertile Crescent. The Wikipedia gap that I have identified greatly limits access to feminist art from Iran, which is a country that is largely misunderstood and demonized by the dominant Western media. Furthermore, the lack of information surrounding Forouhar’s contentious relationship with the state of Iran, starting from her father’s activism, erases the complicated history of the artist with state institutions and violence. Not identifying the feminist nature of Forouhar’s art leaves her out of the canon and instead relegates her to politicized art created in protest against the Islamic Republic of Iran. Although her art can be interpreted this way, the dominant narrative of Islamophobia in Western understandings of Iran was not criticized when this categorizing of her art was carried out. The use of Forouhar’s personal reflections on Iran for Western narratives of veiling and anti-Iranian sentiment is present in this categorization of her art.

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Original Article Section: Work

Solo exhibitions of Parastou's work have been held at Stavanger Cultural Center, Norway; Golestan Art Gallery, Tehran; Hamburger Bahnhof - Museum fur Gegenwart, Berlin; City Museum, Crailsheim, Germany; and German Cathedral, Berlin.[4] She has participated in group exhibitions at Schim Kunsthalle, Frankfurt; Frauenmuseum Bonn; Museum of Modern Art, Frankfurt; Neue Galerie am Landesmuseum, Joanneum, Graz, Austria; House of World Cultures, Berlin; Deutsches Hygiene-Museum, Dresden; Jewish Museum of Australia, Melbourne; and Jewish Museum San Francisco.[4]

In 2002, the Iranian Cultural Ministry censored Parastou's photo exhibition, Blind Spot, a collection of images depicting a veiled, gender-neutral figure with a bulbous, featureless face. Parastou chose to exhibit the empty frames on the wall on opening night instead of forgoing the show.[5]

Rewrite of the Section: Work

Forouhar’s work centers on themes of political resistance, crises of modernity and traditional gender roles [1]. Important themes in her artwork include the use of “ornaments” to symbolize various actions such as torture, the creation of the other and sexuality and violence [1]. Forouhar has commented on the murder of her parents in Iran through the use of this ornament theme by depicting violence and sorrow [2]. These ornaments include stylistic uses of Persian script and veils, which Forouhar uses to define her space in the “white cube” space of the art gallery [1]. Her work often incorporates striking colors (which many Iranian “street” artists use) that range from pastel pink to bright red [3].

Solo exhibitions of Parastou's work have been held at Stavanger Cultural Center, Norway; Golestan Art Gallery, Tehran; Hamburger Bahnhof - Museum fur Gegenwart, Berlin; City Museum, Crailsheim, Germany; and German Cathedral, Berlin. She has participated in group exhibitions at Schim Kunsthalle, Frankfurt; Frauenmuseum Bonn; Museum of Modern Art, Frankfurt; Neue Galerie am Landesmuseum, Joanneum, Graz, Austria; House of World Cultures, Berlin; Deutsches Hygiene-Museum, Dresden; Jewish Museum of Australia, Melbourne; and Jewish Museum San Francisco [2].

One popular exhibition collection, often contrasted with Shirin Neshat’s “Women of Allah”, is her 2004 collection Signs [5]. The collection is a series of digital paintings depicting traffic signs with images of veiled women in various situations, sometimes interacting with male figures [5]. The women exist in compressed spaces and are almost forced off the sign imagery by male bodies. Feminist themes surrounding the art collection include acknowledgment of the otherness of the feminine body and the universalized oppression of women’s bodies [5]. Postmodern feminist critiques have been associated with Forouhar’s work but the focus of various art publications have often been the political connotations of Forouhar’s art [3].

Other collections from Forouhar include Documentation (2003) in which Forouhar displays collections of newspaper clippings and interviews of people connected to the murder of her parents, Parvaneh and Dariush Forouhar [4]. Funeral (2003) which was a collection of office chairs covered with Islamic prayer rugs and inscriptions of Farsi text discussing the popular Shiite martyr Imam Hossein [4]. Thousand and One Day (2003) was critically acclaimed by many art critics and the exhibit depicted the use of torture on faceless bodies painted with pastel colors. These bodies were presented as cut out figures pasted on white museum walls [4].

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Christiannaparr (talk) 07:56, 11 May 2015 (UTC)

Kiki Smith

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After learning about Kiki Smith in high school, I was interested in looking her up through Wikipedia. However, I soon realized that the entire Kiki Smith Wikipedia page is full of gaps. I mainly noticed that there are omissions within her "Early Life" section, and her "Work" section. When comparing Smith's page to other artist pages, there is a notable sparseness. There is no depth within her "Early Life" section, and there is no explanation as to where Smith retained much of her inspiration for her artwork. There is also a lack of information provided about tragedies she endured as a young adult, which led her to produce art surrounding the concept of a diseased body. The artwork Smith creates is a prime example of intersectionality between the race, gender, spirituality, the human body, femininity, disease, and animalistic instincts.These intersections are found throughout multiple pieces of her art, yet there is no information referring to this on her Wikipedia page. There are hardly mentions of specific artworks she's created, let alone many photos which represent the wide variety of art she produces.

There are also source gaps, which are noted at the top of a few sections on Smith’s page. This can mostly be attributed to the lack of sourcing, and the absence of showing where the information about Smith has come from. At the very top of the page, there is a notice stating that the article contains a reference list, but the sources remain unclear due to insufficient inline citations. Her "Work" section lacks reliable sources to back up the information stated there, which can easily be found in reliable sources (books and articles) written about smith.The insufficient sourcing makes the information on the page vulnerable to incorrect material.

Below, I have created a few suggestions of how to adapt Smith’s page. I have written some additional information about Smith to add to the already-existing information on the Wikipedia page, and I have also added a few references/citations to contribute to the lack as pointed out by Wikipedia.

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YOUR ANSWER HERE

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Becsgross (talk) 23:05, 11 May 2015 (UTC)

Navjot Altaf

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

The Wikipedia gap I identified was an absence of information on Indian artist-activist Navjot Altaf. I found it by searching the names of feminist artists and theorists I regard as revolutionary thinkers. I was alarmed to see nothing written about Navjot, even though there was a Wikipedia article about her untitled sculpture often referred to as “[Blue Lady].” With the rise of globalization comes the increasing threat of cultural appropriation. Within feminist movement comes the challenge of trans-difference coalition (my words). It is important to document successes of responsible collaboration across differences that may be perceived as insurmountable elsewhere. In the case of Navjot, she was able to leave the modernity of the city of Bombay (and later Mumbai) and her implied middleclass, higher caste status, and build community with adivasi tribes people. Not only that, she has succeeded in making positive change within those communities by taking on huge collaborative projects such as Nalpar water pump sites and community buildings for adivasi youths, creating safer spaces for suppressed groups within the patriarchal system of the adivasi tribes: women and children. Work like this should be renowned for its innovation and potentiality as a model for future collaborative works across difference (i.e. class/caste, gender, age, etc.) towards positive social change, not emitted from a popular encyclopedia source. Omission of this nature erases an important example of how to collaborate without appropriating, how to distill dialogue into tangible needs, how to collaborate with many different groups to form a grass roots solution to governmental neglect, how to incorporate minimal modern structures (i.e. water pumps, concrete enclosures, irrigation systems, etc.) in ways that enhance rather that disrupt or even bankrupt existing (in this case tribal) life, and how to create functional, life-giving public art.

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Navjot Altaf

Navjot Altaf (1949) is an artist-activist that lives in Mumbai and Bastar, India. Navjot works with many media, with a focus on sculpture, video, and installations. Her works are participatory, political, and often collaborative, extending from social context and local dialogue. Navjot has shown thoroughly in India, and internationally countries such as Japan, the US, and UK.[1]

Personal Life Context

Navjot was born in Meerut, Utter Pradesh, India in 1949. She began her career in the 1970s and graduated with a degree in Fine Arts and certificate in Applied Arts from the Sir J.J. School of Art in Bombay in 1972. That same year, she married her husband and fellow artist, Altaf.[1] Altaf introduced Navjot to many thinkers who would later influence the outlook of her artwork, such as, Kafka, John Berger, Simone De Beauvoir, Sartre, and Bergman.[4] The couple became a member of Proyom, a Marxist Leftist organization.[2] In the 70s the couple actively engaged in the Progressive Youth Movement and shared a studio.[4] In 1980s Bombay, class-politics struggles encouraged Navjot and other artists in the area to address rampant sectarian violence within their work. It was around this time that Navjot began leaving the metropolis of Bombay for Bastar, to work with adivasi artisan-artists in rural India with an intent to “unlearn her academic training” in order to transition to sculpture using wood, explore non-middleclass woman identities and adivasi depictions of female bodies; and to investigate discourse beyond the romanticization of tribal populations. By 1997, Navjot had moved to a “transit-‘home’” in Kondagaon, solidifying her present “migration” between Mumbai and Bastar.[2]

Activism-Art

Once Navjot established her “transit-‘home’” in Kondagaon, she accepted renowned adivasi sculptor, Jaidev Bahel’s, invitation to begin working at his studio-workshop, a local center for art. Immersed there her sculpture began to merge with adivasi artistic practice.[4] Initially, Navjot’s presence was met with skepticism of cultural appropriation,[3] but after building community with adivasi groups, she set up her own studio and began large-scale site-specific collaborative art projects with local artisan-artists. These collaborations led to the establishment of Samvadh/Dialogue, a collective that was initially funded by the India Foundation of the Arts[5] and is now largely funded by the sales from local artists Rajkumar, Shantibair and Gessuram, and Navjot. Samvadh works to create utilitarian, architecture-scale collaborative art pieces in answer to local community needs[2] and larger art criticism.[4] For example, Samvadh has built many public art Nalpar water pump sites in answer the community’s need for a clean, ergonomic water source, as well as the patriarchal social conditions surrounding the water pump as a chore primarily for women.[3] The concrete enclosure of a Nalpar site provides hygienic means for evaporation of stagnant water, and irrigation for the creation of a watering hole for animals (so the same water source no longer has to be shared by community members and wildlife). Nalpar sites also provide protection for women from the close monitoring of men community members, and thus a safe place away from social hierarchical structures for interaction between women.[3] The first Nalpar was built in 2001 and within the next six years, seven more were built with in the Bastar region of Chattisgarh.[5] In so doing, Navjot and Samvadh create a discourse “in and of art.”[2]

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1. Altaf, Navjot. "Navjot Altaf Biblography." Navjot Altaf. N.p., 2013. Web. 11 May 2015. < http://www.navjotaltaf.com/bibliography.html>.

2. Kapur, Geeta. "Navjot Altaf: Holding the Ground." Critics on Art. Lalit Kala Akademi, New Delhi. 19 July 2010. Lecture.

3. Kester, Grant H. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham: Duke UP, 2011. Print.

4. Louis, Maria. “The Intimacy of Sensation.” Verve Magazine. Verve Magazine, 2008. Web. 11 May 2015. <http://www.verveonline.com/60/life/artspeak.shtml>.

5. Tan, Leon. “Nalpar and Pilla Gudis.” International Award for Public Art Presentation and Public Art Forum. Institute for Public Art, Apr. 2013. Web. 11 May 2015. < http://www.ipublicart.org/IAPA/en/al_10.html>.

Berlinelles (talk) 01:21, 12 May 2015 (UTC)

Faith Ringgold

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

While doing my Visual Analysis Paper earlier on in the quarter, I chose an African American artist- Faith Ringgold. Without having any previous experiences with female artists, I went on wikipedia to look up some basic information about her, and I realized that there wasn’t enough information on the wikipedia page, because it only talked about part of her artwork and biography. The insufficiency of her biography prevents people from understanding her intentions of creating different kinds of artwork, or the different things that she is trying to depict, as we talked about in class that a person’s historical background or political events that are happening during their time could very much affect the types and styles of artwork that they produce. Additionally, in the “artwork” section of her page, there were only brief descriptions of the different projects she has done, there also weren’t any information about the Feminist Series she did during the 70s. Having this gap prevents readers from knowing the arts she created in response to Black Art Movement. Also, in the wikipedia page, it doesn’t talk about Ringgold’s social class or sexuality, which could affect the way which readers think of her, for example her social class may have affected where she was educated, thereby affecting how she created her pieces (it however did mention that Ringgold’s quilted pieces were inspired by her mother, so it may suggest that she spent a decent amount of time with her mother in her younger years).

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• Paragraph intended to be added under "Artworks", in between ".... as well as contemporary ones." and "Ringgold began quilted artworks in 1980s..."

In 1972, Ringgold created the “Feminist Series”, which made use of “high arts and crafts. She also started using “fiber media” in conjunction to the “pattern and decoration movement”, which is a section of feminist art movement that makes use of fabric to create artworks. This series involved Ringgold’s experiment with a certain type of painting method, which later on became her dominant style of painting. Right before her creation of the “Feminist Series”, she created a few important artworks in response to black and feminist politics. Women’s Liberation Talk Mask demonstrates the importance of African traditions in artwork, in which Ringgold makes use of cloths, masks and fibers. Women Freedom Now has optical illusion effects that can catch viewer’s attention so they would read the content on the poster; its red and green color arrangement portrays Ringgold’s support with the Black Power movement, whereas the words “Women, Freedom, Now” celebrates women’s movement. Women’s House, an oil painting made of two eight by four feet panels, advocating gender equality issues. Here, Ringgold switches gender roles, for example there was a mother walking a bride while traditionally it should be the father. The minister is also a woman and an African American woman is elected as president.

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JeannieeC (talk) 02:04, 12 May 2015 (UTC)

He Chengyao

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When I checked Wikipedia for He Chengyao (何成瑶), one of the Chinese feminist artists who has played a significant role in my research, I discovered that she does not have her own article, although she does have a very rudimentary one on the ArtSpeak China Wiki: http://www.artspeakchina.org/mediawiki/He_Chengyao_何成瑶. While she began her career as an oil painter, which is the medium she trained in at the Sichuan Academy of Fine Art, she transitioned into performance art after an impromptu action using her own nude body on the Great Wall in 2001. She later titled the performance Opening the Great Wall (开放长城). After that I decided to check the Wikipedia entry for Performance art, and was shocked (or maybe not) that HA Schult's piece Trash People installed on the Great Wall in 2001 is given as an example of 1990s performance art. First, this piece strikes me as more an installation/sculptural piece than a performance piece. Second, this is exactly the piece, accompanied by the media attention attracted by a German artist on the Great Wall of China, that enraged He Chengyao so much that she tore off her shirt and walked topless through his installation, effectively stealing his thunder and the cameras that then focused on her body. This action initiated her own now substantial career as a performance artist in which she always uses her own body as part of the live action piece. I was also surprised (or maybe not) to discover that a linked Wikipedia article on Performance art in China does not include He Chengyao, even though she has been an important figure in this scene. I propose that an article be created about her, that she be added to the Performance art article, specifically in relation to the HA Schult piece that she serves as Chinese feminist foil to, and to the Performance_art_in_China page. My paragraph below proposes the framework for a new article on her to be added to Wikipedia. Once this page is created, she should be linked to the other articles discussed above.

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Education

Life and Work

Oil Painting

Performance Art

He Chengyao's first performance art piece was Opening the Long March.

Exhibitions

She has participated in numerous exhibits of performance art, both in China and internationally including:

Her first solo show Pain in Soul: Performance Art and Video Works by He Chengyao was held at the Shanghai Zendai Museum of Modern Art in 2007.

The first feminist art exhibit that included her work was Cruel/Loving Bodies (酷／爱身体). This touring exhibition featuring painting, sculpture, installation, performance, photography, and video by Chinese, Hong Kong, and Chinese British feminist artists showed at the Duolun Museum of Modern Art, Shanghai (2004), 798 Space, Beijing (2004), and Hong Kong Arts Centre (2006). At the Shanghai installation of the exhibit, He Chengyao performed her piece Public Broadcast Exercises (广播体操). It received attention as the first nude performance art piece in an official Chinese art museum and initiated explosive public debate in print and online media. In 2007, she was included in Global Feminisms at the Brooklyn Museum, the inaugural exhibition for the museum's Elizabeth A. Sackler Center for Feminist Art. In 2014, she was included in a show at the Paula Modersohn-Becker Museum in Bremen, Germany called, Sie. Selbst. Nackt. (She. Herself. Nude.)

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• He Chengyao (2007). Pain in Soul: Performance Art and Video Works by He Chengyao (Xin ling zhi tong : He Chengyao de xing wei yi shu ji ying xiang). Shanghai: Shanghai zheng da xian dai yi shu guan.
• Welland, Sasha (March 2005). "On Curating Cruel/Loving Bodies". Yishu: Journal of Contemporary Chinese Art 4 (1): 17–36.
• Reilly, Maura; Nochlin, Linda (2007). Global Feminisms: New Directions in Contemporary Art. New York: Merrell.
• Tatlow, Didi Kirsten (20 January 2014). "She. Herself. Naked.". The New York Times. Retrieved 12 May 2015.
• Sung, Doris (2012). “Reclaiming the Body: Gender Subjectivities in the Performance Art of He Chengyao.” In Negotiating Difference: Contemporary Chinese Art in the Global Context, ed. Jeong-hee Lee-Kalisch, et al., 113-26. Berlin: VDG-Weimar.

Sslwelland (talk) 05:58, 12 May 2015 (UTC)

Angèle Etoundi Essamba

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Angèle Etoundi Essamba is a Cameroonian photographer who focuses on the black female nude in her work. Essamba is an important part of African photography because her work is a direct response to colonialism and the resulting grotesque sexualization and perceived entitlement to African women's bodies. Her work aims to reclaim women's bodies by showing how they are in reality: as any combination of sexual, confident, beautiful, modest, cultured, traditional, and modern. However, the Wikipedia page for Essamba included no mention of colonialism or the sense of purpose which guides her work. The existing article states that she draws upon "...her personal experiences and history, culture,perspective and environmental influences," but does not explain what these influences are or how they motivate her photographic expression. The article also fails to mention that she created a foundation for African girls with the goal of enhancing women's rights and equality. While the biographical details in the wiki are correct, I want to add depth to the explanation of her motivation so that viewers can understand why she is an important figure in her field. Below is a proposed addition to the "Photographic career" section which includes the motivation behind her work.

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Existing "Photographic career" section: She focuses on the African female in her black-and-white photography. Her first exhibition was in 1984 at the Gallerie Art Collective in Amsterdam. Her 1995 series of black-and-white photographs, White Line, was awarded the Prix Spécial Afrique at the Festival des Trois Continents, Nantes in 1996. She wants her work to inspire discussions between cultures and people. Her art is highly influenced by her African descent as well as her diverse cultural environment.[2] Drawing on her personal experiences and history, culture,perspective and environmental influences, Essamba's photographs combine technique with a strong sense of emotion.[2] She has shown her works in several exhibitions in Africa, Asia, Europe, Latin America, the United Arab Emirates, and the United States[4] including: Bienal de La Habana (1994), Venice Biennale (1994), Johannesburg Biennale (1995), Festival of the Three Continents (1996).[2]

Proposed addition to the "Photographic career" section: Theory and motivation: Essamba's work is motivated by a variety of factors, including the representation of African women, humanitarianism, and self-expression[2]. Ethnographers have historically used photography against African women to "scientifically" prove they are primitive, which then justifies seizing control of their country and people[1]. These photographs portrayed African women's bodies as sexual objects against their will, which satisfied colonialist's fetish of the exotic "other" [1]. By working with African women as equals and displaying the subjects' bodies how they wish to display them, Essamba is essentially reclaiming African women's bodies and sexuality[1]. Photographing women nude is a revolutionary practice, because the most common photographic resistance technique has been an effort to cover up African women completely[1]. This technique results in African women being portrayed as asexual, or only sexual in regards to motherhood and fertility[1]. Essamba's subjects are complex, and the emotions and personalities displayed in her work create an empathetic relationship with the viewer[2]. Essamba aims to break down the stereotypes left by colonialism, poverty, and war, that African women are weak and passive. She does this by "...captur[ing] the essence of the African woman in the gestures, the look, the sheer elegance and also their emotions"[5]. She wishes to show outsiders the cultural diversity and beauty of Africa and its people[3]. Essamba is also a humanitarian feminist who believes in promoting equality between people of all genders and cultural backgrounds[4]. The Essamba Home Foundation (www.essambahome.com) is a homeless shelter for girls in Cameroon[2]. The shelter aims to teach underprivileged girls about art and give them an outlet through education and artistic expression. This concern for women's rights and the desire to empower youth is a guiding force in Essamba's photography[2]. Self expression is also a motivation for Essamba's photography[5]. Essamba has lived abroad in multiple countries, and her photographs reflect this rich cultural duality, as well as ideas of identity in a multicultural world[4].

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Saganislord (talk) 23:44, 12 May 2015 (UTC)

Alina Szapocznikow

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Though Alina Szapocznikow does currently have a Wikipedia page, it is rather sparse regarding her art. Most of the page discusses her traumatic history as a Polish Holocaust survivor, then her tuberculosis and breast cancer later in life. These did have a huge impact on her art, but the article tends to focus only on these topics, rarely discussing the pieces she created. No piece is mentioned specifically, the only mention is the caption for the photo in the article and her "body casts" are referred to. Szapocznikow also has been exhibited in the United States since her death in 1973. The show was called "Sculpture Undone, 1955-1972", and is never mentioned in her Wikipedia page. Her artwork is also associated with Nouveau Réalisme, Surrealism, and Pop art, yet her name isn't mentioned on any of those Wikipedia pages (1). Though she did not consider herself a feminist at the time (feminism was just beginning to take hold in Poland in the 1970s), she was the only woman artist in Poland addressing gender and the female body through her art work and proved to be a critical resource for many feminist artists in the region today (2).

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YOUR ANSWER HERE

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(1) "EXHIBITIONS." MoMA. 7 Oct. 2012. Web. 12 May 2015. <http://www.moma.org/visit/calendar/exhibitions/1241>.

(2) Zarzycka, MJ. "Alina Szapocznikow." Chapter 3: 152-207. DSpace. Web. <dspace.library.uu.nl/bitstream/handle/1874/21782/c3.pdf>.

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Carlylynch (talk) 23:56, 12 May 2015 (UTC)

Feminist Art

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A gap that I have found in Wikipedia lies on the article titled “Feminist Art”. By reading the opening statement of this article I could tell that it was lacking an intersectional feminist analytic. The article begins by claiming that feminist art emerged from “the feminist art movement of the late 1960's and 1970's,” (Feminist Art). We have talked about this idea in class and learned that feminist art is not something that western artists invented. It has taken place in many parts of the world before and after the popular movement in the 60's and 70's in the U.S.A. Additionally, the article references only one artist on the page: a white western woman, Judy Dater. While I have no doubt Judy Dater’s works are feminist and wonderful, I doubt that her work can fully represent the entirety of feminist art. The western perspective of this article seriously limits the reader’s understanding of feminist art on a global level, and even on a western level. Even if the author were to change the article title to Western Feminist Art, it would still be a very limited article. It only talks about the last 50 years having a feminist art movement. It also seems to limit the definition of what feminist art is. It does not explain the complexities of feminist art and how artist currently and in the past have pushed the boundaries of art to send feminist messages. All in all there is a lot that is missing in this article. Below I will rewrite only two parts: the sections titled, “History” and “example of feminist art”.

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I want to rewrite section on History: Original: “Historically, we probably cannot find a female artist that matches up to Michelangelo or Da Vinci primarily because women were excluded from training as artists- especially when it came to studying the human body and thus having to see a nude model. Towards the end of the 1960s, the feminist art movement emerged during a time where the idea that women were fundamentally inferior to men was criticized- especially in the art world. In "Why Have There Been No Great Women Artists" Linda Nochlin wrote, “The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education”.[3] Through various media, women artists brought to light a patriarchal history in which the majority of the most famous works of art were made by men and made for men. After the 1960s, we begin to see the birth of new media and the gradual decline of gender discrimination in art. Lucy R. Lippard stated in 1980 that feminist art was "neither a style nor a movement but instead a value system, a revolutionary strategy, a way of life."[4]”

My edit: In early western history, women were not allowed to train in the majority of art institutions. This occurred for many reasons, most often because it was impure for women to view nude models, they would distract the men, or because women were not thought capable of the talent and intelligence that it took to create great art. However many women defied these societal norms and pursued art. Most often these women were aristocrats who had the means to pursue art. One of the most prominent western feminist art movements occurred during the mid to late 20th century. Many artists produced art work that critiqued modern values of art and explored the boundaries of what was considered to be art. During this time artists began to criticize modern art institutions like MOMA, the Louvre, and others on their lack of gender and race representations.

I also want to rewrite the section “example of feminist art”

original: “The magazine and the rise of feminism occurred during the same time feminist artists became more popular, and an example of a feminist artist is Judy Dater. Starting her artistic career in San Francisco, a cultural hub of different kinds of art and creative works, Dater displayed feminist photographs in museums and gained a fair amount of publicity for her work.[14] Dater displayed art that focused on women challenging stereotypical gender roles, such as the expected way women would dress or pose for a photograph. To see a woman dressed in men’s clothing was rare and made the statement of supporting the feminist movement, and many people knew of Dater’s passionate belief of equal rights. Dater also photographed nude women, which was intended to show women’s bodies as strong, powerful, and as a celebration. The photographs grabbed the viewers’ attention because of the unusualness and never-before-seen images that do not necessarily fit into society.[15]”

my edit: Examples of Feminist Art Yayoi Kusama is a Japanese artist whose art work included performance pieces, oil paintings, photographs and intermedia pieces. Kusama is well known for her use of repetitive shapes in her art work. Many of Kusama’s works are three dimensional works that display many phalluses protruding from everyday objects. There have been many different feminist interpretations of these pieces. According to Midori Yoshimoto, these phallic pieces could be a critique the objectification of women through male sexual desire. Kusama also displayed her performance piece, “Narcissicus’s Garden” outside of the Venice Biennale in 1966. In this piece Kusama stood outside the show and sold large reflective balls to people for $2. According to Reuben Keehan, this “has been interpreted as a comment on the commercialization of art.”

Zanele Muholi is a South African artists whose works primarily focus on the issue of gender and sexuality in South Africa. Muholi photographs people in the LGBTQ community in South Africa. In an interview with Gabeba Baderoon, Muholi said of her own work, “”For each and every face, its more about me as much as it is about the people. For each and every on I’ve captured, I see my self in them…These are immediate families or connections I have made over time. You are my queer family; you’re sharing the same struggle.”

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Briahnna.M (talk) 00:04, 13 May 2015 (UTC)

Navjot Altaf

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The topic I have selected to research for the Wikipedia gap analysis is the female Indian artist Navjot Altaf. When I searched Wikipedia for information on Navjot, I was left almost completely empty-handed. There are very few pages mentioning this artist or her work and only a single one that is focused entirely on Navjot. The one page I found about her is titled "(Untitled) Blue Lady". It includes a brief description of the blue, wood sculpture depicting a woman crafted by Navjot in 1999. The Wikipedia article also mentions the intended meaning of Navjot’s piece and the places in which the sculpture has been displayed. However, there aren’t any links to pages dedicated to other artworks by Navjot, her years spent collaborating with Adivasi tribes, the participatory aspect of her work, her social and political activism, or her personal life story and what she is doing currently. Another problem I noticed within the page about "(Untitled) Blue Lady" is that there is a link to the male artist Marcel Duchamp, but Duchamp’s Wikipedia page fails to mention anything about Navjot. I found this gap by searching “Navjot Altaf” on the internet. A Wikipedia link did not appear so I narrowed my search to “Navjot Altaf Wikipedia” which provided me with eight pages that mention the name Navjot Altaf, but only one solely about a sculpture she created, and none about her individually. This gap limits knowledge about feminist art because a discussion about Navjot and the way in which her art changed patriarchal structures in South Asia, and the world, is absent on the Wikipedia site. By not providing this information, Wikipedia is failing to acknowledge the importance of female figures worldwide who have used art as a mode of communicating political opinions and providing support for women oppressed by social constructs. In the following paragraph I will write what I think should be included in the beginning of an article for a Wikipedia page dedicated to a detailed summary of Navjot Altaf's artwork, activism, and life story.

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Navjot Altaf is a South Asian artist who was born in post-colonial India in 1949. She works in many different modes of art such as wood and stone sculpture, performance, video, photography, and paint, but maintains the belief that the process of making art is the most important, as opposed to just the outcome (1). She is also known for her ability to build in rural settings with input from tribal communities and her use of art as a political and feminist outlet. Navjot was born in Uttar Pradesh, India. In 1972, she received a diploma and certificate from the Sir J.J. School of Arts in Bombay. Her formal education was in fine arts and applied arts; however, she left Bombay in order to rid herself of the formal ways of painting that she had learned (2). It was at this time that she began sculpting with wood. Navjot, along with other artists looking for an escape from city life, moved to an area inhabited by the Adivasi, a tribal people of India (3). It was here that Navjot began producing art with a greater purpose. Navjot is a collaborative artist who tends to require participation from the audience of her work or the community in which she is working. Her collaborative process was demonstrated in Adivasi communities through her contributions to the creation of new water pumps for women and play structures for children (4). She later used video installations and photography as a means of delivering a viewpoint that opposed oppression, hierarchy, and violence that was occurring around the world. Navjot has continued to be an artist and activist while living in Mumbai, India (5).

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1. http://www.aaa.org.hk/Collection/CollectionOnline/SpecialCollectionItem/3018# Geeta Kapur “Navjot Altaf: Holding the Ground” Asia Art Archive. 19 July 2010.

2. http://www.theartstrust.com/Magazine_article.aspx?articleid=252 “Navjot Altaf’s Socially and Politically Loaded Work” The Arts Trust. 2011. Online magazine.

3. http://www.guildindia.com/Novjot/CV.htm “Navjot Altaf” The Guild Art Gallery. 2002.

4. http://groundworks.collinsandgoto.com/navjot-altaf-mumbai-india/ Jenny Strayer “Navjot Altaf (Mumbai, India)” Groundworks: Environmental Collaborations in Contemporary Art. 2005. Exhibition at the Regina Gouger Miller Gallery

5. http://issuu.com/frostart/docs/navjot_altaf Julia Herzberg “Evoking the Unspoken Gaps of Memory” The Patricia and Phillip Frost Art Museum. November 2007.

Hiegelm (talk) 00:07, 13 May 2015 (UTC)

Claire Fejes

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Claire Fejes’ current Wikipedia article is three sentences total. This cannot possibly encompass a career that spanned 4 decades, produced thousands of pieces of work, and changed the world’s perspective on Alaskan art. I knew about Fejes; career and work previously because I work in the gallery she founded in 1964 and I have done shows of her work, so I knew that she was a notable individual worthy of more attention than she has received in the past. Fejes’ gallery and work brought awareness and knowledge to the American public about the everyday lives and traditions of Alaska Natives. She served as a real spokesperson for their issues and a vehicle for getting their material culture into the art market, as well as being a prolific artist in her own right. Having a extensive Wikipedia article about her would allow those interested to understand her life and work as well as connecting to the lives of those she impacted in Alaskan communities. This article does not list her exhibitions, cite influences, or provide any recognition of her work. There are no images of her work on Wikipedia, which is a real pity because her large scale oil paintings have the ability to light a room with their color and her small line drawings in ink are intimate and impactful. There is also no mention of the gallery she founded or her communications with the landscape painter Rockwell Kent. Kent's page has no mention of her, even though he was essential to the development of her career. There is no Wikipedia article about Alaskan artists (which probably should be developed as well), but Fejes is included in the list of notable people from Alaska. She is also not included on the list of American artists. This gap limits the available public knowledge on art from Alaska, probably because Fejes' subjects are primarily Alaska Native people who are generally marginalized by non-Natives in Alaska and in the media.

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EARLY WORK

Fejes’s earliest work were the sculptures she created in the WPA. Influenced by her teachers Saul Baizerman and Jose de Creeft, her sculptural forms were dense and weighty nudes of women (1). She thought of herself first as a sculptor and only sometimes as a painter. After her move to Fairbanks, she found it difficult to be productive during the long, harsh winters when she had to sit at home by the wood stove (1). The young town of Fairbanks was also limited in its artistic environment, so Fejes had few resources and friends with which to share her interests. With no studio and little inspiration, Fejes felt forced to transition from sculpture to painting and drawing (5). She began doing self-portraits in oils and watercolors, as well as nudes and portraits of her neighbors and friends (mostly women). She also sketched daily life in her household and was an avid diarist (2). She found a real interest in painting portraits local Athabascan and Inupiat women, which are some of her most prolific works because of her delicate ability to capture a person’s essence in oils (3). This sparked her interest in the lives and traditions of the Native people of Alaska, which became the subject of the most well-known and successful paintings of her career, as well as the books she authored based on her travels and experiences with Native Alaskans (4). She developed relationships with these people that helped her to travel and live around Alaska in her later career. She has cited the painters Diego Rivera, Pablo Picasso, Marsden Hartley, Paul Gauguin, and the Impressionist movement, as well as her teachers Baizerman and de Creeft, as her artistic influences (3).

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1. Claire Fejes: An Alaskan Artist. Dir. Fejes Family. PBS KUAC, 2002. 
2. Dunham, Mike. "Alaska House Gallery Keeps the Dreams of Claire Fejes Alive." Alaska Dispatch [Anchorage] 24 July 2010.
3. Barber Noyes, Leslie. "Claire Fejes." Southwest Art (1990).
4. VanStone, James W. "People of the Noatak, Claire Fejes." Rev. of People of the Noatak. American Anthropologist Feb. 1968: 114.
5. Fejes, Yolande. "The Alaska House Art Gallery: Claire Fejes." The Alaska House Art Gallery: Claire Fejes. N.p., n.d. Web. 12 May 2015. <http://thealaskahouse.com/fejes/life_story.php>.

Ekyork (talk) 00:15, 13 May 2015 (UTC)

Carolyn Drake

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Carolyn Drake is a documentary photographer who has won numerous competitive awards, including the Lange-Taylor Prize and a Guggenheim Fellowship.

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Early Life

Education

Photography

She had a solo exhibition titled Paradise Rivers in the Third Floor Gallery.

Books

Two Rivers (2013) Wild Pigeon (2014)

Awards

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• http://www.gf.org/fellows/all-fellows/carolyn-drake/
• http://time.com/3800860/the-surreal-world-of-central-asia-two-rivers-by-carolyn-drake/
• http://photography.nationalgeographic.com/photography/photographers/photographer-carolyn-drake/
• http://www.earthinstitute.columbia.edu/sitefiles/file/about/director/documents/NatureConservancyMagazineSummer2006-DoesConservationMattertothePoor.pdf
• http://www.theguardian.com/artanddesign/2014/dec/10/china-west-photograph-wild-pigeon-carolyn-drake

Seattle transplant (talk) 00:56, 13 May 2015 (UTC)

Mitsuko Tabe

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Mitsuko Tabe was one of the founders of Group Kyushu, a Japanese group of artists associated with the avant garde anti-art movement and pop genre. It follows after the short-lived Neo-Dada movement, a postwar movement that includes Yoko Ono. I first searched for another Neo-Dada artist named Sayako Kishimoto and found that Midori Yoshimoto, the author of Into Performance: Japanese Women Artists in New York had written about Kishimoto in addition to other Female Japanese Avant Garde Artists. However, I could not find much more information about Kishimoto, likely because she was more involved with activism than art, but her lack of articles bordered on the notability requirement of Wikipedia. In my research, I had also come across Tabe, who had more information because she was one of the core members of Group Kyushu. However, none of the notable Group Kyushu members have Wikipedia pages, their hyerlinks are directed to other sites. The absence of information about Tabe highlights the limited knowledge of gender and nationality intersectionality, specifically for Japanese women artists. Although there are renown artists such as Yoko Ono and Yayoi Kusama circulating, there are more artists that are salient to the art world. Further, Tabe’s hyperlink in particular is sent to a timeline written in Japanese while a couple of the other notable male members are sent to gallery pages in the English language. This also ostracizes Tabe’s work and involvement because her information is neither readily available nor well circulated. Yet Japanese Women in general are not represented well on Wikipedia in general, Mitsuko Tabe, Yoko Ono, and Yayoi Kusama are all not listed in Wikipedia’s category of Japanese artists.

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Mitsuko Tabe (田部 光子 Tabe Mitsuko, born 1933) is a Japanese avant-guarde artist, art historian, author, and lecturer. She is most known as being a core member as well as accountant for Group Kyushu-ha, a male dominated anti-art collective founded in Fukuoka in 1957.

Starting as a self taught artist like most of the other Group Kyushu-ha members, Tabe played an active role as a female Japanese Artist in Fukuoka's art community. In addition, Tabe was the first woman Executive Director of Integrated National Art Fukuoka and the Director of the Fukuoka City Art League from 1995-1997 . Tabe also helped organized a variety of regional exhibitions.

Through exhibitions, Tabe has used art as her media to make statements. As a member of Group Kyushu-ha, she explores anti-art, which blends untraditional media usage with performance art. They would use everyday objects and be in conversation with them through their performances in the streets. While the style and texture of Tabe's art was similar to the collaborative art, Tabe would present a social consciousness in her work. Her piece, Anger of Fish Tribes (Gyozoku no ikari, 1957) is made from asphalt and bamboo rings to create texture, but her work critiques industrial pollution.

Tabe’s work is further known to be both proto-Pop and proto-Feminist, her work focuses on gender, sexuality, and identity. For instance, while pregnant with her son? she created Artificial Placenta (Jinko-Taiban, 1961) a mixed media sculpture of three upside mannequin hips with radio vacuums in order to satirize the role of women as child birth machines and present the hope of future liberation from childbirth through the creation of artificial placentas. The work questioned the gender roles in Japan and she goes on to bring recognition to female artists through organizing the annual Kyu-shu-Women Artists Exhibition (1974-1984) and by writing books to bring awareness to female artists.

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• FIRST SOURCE
• SECOND SOURCE
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Belleachen (talk) 01:27, 13 May 2015 (UTC)

Pushpamala N.

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The gaps I have found are in relation to N. Pushpamala. First of all, her page is very short with brief details. Second of all, there are a lot of honors, works of art and exhibits listed without links. I have already embedded one in her introduction, providing a link to the National Film Awards where she was presented one of her accomplishments. However, as I found with the National Film Awards and other links already provided, when I click on them they do not reference back to Pushpamala. That is the third gap to analyze. Lastly, I noticed the history of India at the time of her life was hardly included. In the sense of intersectionality, I think this area should be worked on to help provide a better image about Pushpamala’s life and the struggles she went through as a feminist artist. I came across these gaps after searching a few other artists we discussed in our class readings. The two I looked up before Pashpamala had more information than her and more links to direct the viewer to the artists’ works and accomplishments. Since I saw these things, I wanted to move on to another artist that needed more information, like Pushpamala herself.

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Pushpamala found much of her inspiration from “the Narrative painting movement, particularly the works of Bhupen Khakhar. The original inspiration for doing the Hunterwali picture came from some of the early catalogues of Khakhar where he has photographs of himself playing varied roles of James Bond, a toothpaste model, and Mr. Universe” (5). In 1996, she was also a sculptor, living in Mumbi with her husband Ashish Rajadhyaksha (5). When she lived inNew York, Pushpamala took into account her history and her country’s history to make her success (1). People see her as many things, a direction, an artist and actor: she starred in films such as Phantom Lady, or Kismet (1996-98), Golden Dreams (1998), and The Anguished Heart (2002) (1). Pushpamala attributed sculpture work to the Rainbows Modern Art Gallery in India (2). She also had photo performance work in exhibition at Gallery Chemould, also in India (3). Another work of her performance art worth mentioning is "Native Women of South India: Manners and Customs", which was on at Bangalore's Gallery Sumukha. This piece of art was in collaboration with Clare Arni (4). They worked on photography together in order to document ethnographic history and to recreate “representations from different media — paintings, newspaper photographs, historical photography, advertisements, film stills, including goddesses, mythological characters and criminals” (4).

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• (1) Cotter, Holland (May 7, 2004). http://www.nytimes.com/2004/05/07/arts/art-in-review-pushpamala-n.html "ART IN REVIEW". The New York Times Company. The New York Times. Retrieved 13 May 2015.
• (2) http://search.proquest.com.offcampus.lib.washington.edu/hnptimesofindia/docview/1516170916/fulltextPDF/17FEEB9DE8BF4271PQ/18?accountid=14784 "EXHIBITIONS: The Times of India (1861-current)". ProQuest Historical Newspapers (Bennett, Coleman & Company Limited). February 2, 2005. Retrieved 13 May 2015.
• (3) http://search.proquest.com.offcampus.lib.washington.edu/hnptimesofindia/docview/1419551267/17FEEB9DE8BF4271PQ/32?accountid=14784 "EXHIBITIONS: The Times of India (1861-current)". ProQuest Historical Newspapers: The Times of India (Bennett, Coleman & Company Limited). 6 September 2004. Retrieved 13 May 2015
• (4) De, Aditi. "Performance Photography" (PDF). The Hindu. The Hindu. Retrieved 13 May 2015.
• (5) Pushpamala, N. (Decemeber 2012). "The Phantom Lady strikes! Adventures of the artist as a masked subaltern heroine in Bombay". Sage Journals 1 (113): 157–180. Retrieved 13 May 2015.

AKniestedt10 (talk) 01:57, 13 May 2015 (UTC)

Kiki Smith

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

After learning about Kiki Smith in high school, I was interested in looking her up through Wikipedia. I soon realized that the entire Kiki Smith Wikipedia page is full of gaps. I mainly noticed these gaps throughout the information about her early life, and also in the specific pieces of artwork she creates. There is sparseness within each section of Smith’s page compared to other Wikipedia pages for various artists (many of whom are men). Major gaps of what influenced her to make such unique art are completely omitted, such as early childhood events and tragedies she later endures as an adult. The artwork Smith creates is a prime example of intersectionality between the race, gender, spirituality, the human body, femininity, disease, and animalistic instincts. These intersections are found throughout multiple pieces of her art, yet there is no information referring to this on her Wikipedia page. Only race and gender have been mentioned on her Wikipedia page thus far, and Smith is not even mentioned as a feminist artist within any section of the page.

There are also source gaps on the page, which are noted at the top of a few sections on Smith’s page. This can mostly be attributed to the lack of references, and the absence of showing where the information about Smith has come from. At the very top of the page, there is a notice stating that the article contains a reference list, but the sources remain unclear due to insufficient inline citations. The insufficient sourcing makes the information on the page vulnerable to incorrect material. Even more astounding gaps can be noted in her “Work” section, which lacks reliable sources to back up the information stated there.

I have created a few suggestions below of how to adapt Smith’s page. Part of what I have written is new information to add to the already-existing material about Smith, and the rest are reference/citation information to fix the sourcing gaps on Smith's page.

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YOUR ANSWER HERE

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• FIRST SOURCE
• SECOND SOURCE
• THIRD SOURCE
• FOURTH SOURCE
• FIFTH SOURCE

Becsgross (talk) 02:03, 13 May 2015 (UTC)

Cecily Brown

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

For my gap analysis I focused on painter Cecily Brown. When I was looking through her page, I noticed that it was broad and vague. Her exhibition list looked short, doesn’t include some of her other works such as her writings and a film, and her page brushes over her influences, which includes the Abstract Expressionism movement. The page fails to recognize Brown as one of the few recognized females creating modern art with an abstract expressionist style. Cecily Brown has also been credited with helping with the revival of abstract expressionism in modern art, but there is nothing mentioned about her contribution on her page, which is interesting because abstract expressionism is widely considered a male-dominated style and movement. Another gap within Brown’s Wikipedia page is her relationship with Larry Gagosian. I found this gap because I noticed when I was researching Cecily’s work, most of it has been exhibited at the Gagosian. As I stated earlier, the Wikipedia page brushes over Brown’s works. Only some of her exhibitions are listed, none of which include her works in group exhibitions. Along with that, the list has not seemed to be updated recently, the last one listed being an exhibition done in 2012, as I found that she has had at least 5 solo exhibitions since then. I think it’s important to list most, if not all of her exhibitions to get an idea of her body of work and her contributions to the art world. Looking at Cecily’s Wikipedia using intersectionality, the fact that she has a Wikipedia page may be due to the fact that she is Caucasian and comes from a background that has allowed her to be well-educated. One can also think about how her career has progressed through her relationship with Gagosian, who helped advance her career, and how the media has sexualized her as an artist due to her charismatic personality and attractiveness.

Propose a paragraph of new or substantially edited content based on reliable sources. (If you are editing existing content, post the current version along with your edited version, and clearly mark which is which.)

The first part of my revision of Cecily Brown’s Wikipedia page would be to update her solo exhibition page so it includes more of her current works. Recent solo works not included: 2015 Cecily Brown. Maccarone Gallery. New York, NY. (3) 2014 Cecily Brown . Gagosian Gallery, Paris, France. (6) Cecily Brown . Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy. (6) 2013 Cecily Brown . Gagosian Gallery, Beverly Hills, CA. (6) Cecily Brown . Gagosian Gallery, Madison Ave, New York, NY. (6) Also, Brown had created an erotic film while working at an animation studio after she had finished studying at the Slade School of Art in London (1).

Addition to her “Career” section: Many of Cecily Brown’s exhibitions in the past 15 years have been housed in the Gagosian Gallery. At 29 years old, she began working with Larry Gagosian, who is an art dealer and owns a chain of art galleries (4). This professional partnership has helped with the exposure of her paintings and has increased the commercial value of her works. Gagosian has aided Brown’s paintings in becoming a commodity and because of their relationship, Brown’s works usually sell in the 6 figure range. Gagosian aided in the circulation of her paintings with his connections in the art world and his encouragement of curators in museums to buy her work (5). In early 2015, Cecily decided to end the partnership with Gagosian because she wanted her work to be seen in a different setting, saying it’s natural to want to change up the context in which her work is viewed (2).

Addition to her “Painting Section” Influenced by abstract expressionism, Cecily Brown’s work have brought back the style back into current conversation in the art world. Brown has been praised for doing so, as well as introducing abstract expressionist style into relevance within the female art world (7).

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• 1) Wright, Karen. "In the Studio: Cecily Brown, Painter." The Independent. Independent Digital News and Media, 29 Nov. 2013. Web. 10 May 2015.
• 2)Belcove, Julie L. "After Gagosian, Cecily Brown Hits Reset: Smaller Paintings, Smaller Gallery, Evil Mice, and Male Nudes." Vulture. New York Media, LLC, 08 May 2015. Web. 10 May 2015.
• 3)Cooper, Ashton. ""The English Garden" Press Release." Maccarone. N.p., n.d. Web. 9 May 2015.
• 4)Ventura De Mato, Pedro. "CECILY BROWN LEAVES GAGOSIAN GALLERY." Aujourd'hui. N.p., n.d. Web. 9 May 2015. <http://www.aujourdhui.pt/blog/cecily-brown-leaves-gagosian>.
• 5)Crow, Kelly. "The Gagosian Effect." Editorial. The Wallstreet Journal. Dow Jones & Company, 11 Apr. 2011. Web. 11 May 2015. <http://www.wsj.com/articles/SB10001424052748703712504576232791179823226>.
• 6)"Cecily Brown - Gagosian Gallery." Cecily Brown - Gagosian Gallery. N.p., n.d. Web. 12 May 2015. <http://www.gagosian.com/artists/cecily-brown>.
• 7)Peck, Derek. "Cecily Brown." AnOther. Dazed Group, 14 Sept. 2012. Web. 12 May 2015.

Cindymphan (talk) 02:26, 13 May 2015 (UTC)

Sara Shamsavari

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

When I first started this project, I had in mind that I wanted to do it on Shirin Neshat. After looking at her page and then viewing a separate list of Iranian women artists, I decided she had a good deal of information on her page compared to the other Iranian women. That is when I found the page for the artist Sara Shamsavari. Shamsavari's page has nothing written under the "Work" section about her photographic series of women wearing veils or what her work is about.

Propose a paragraph of new or substantially edited content based on reliable sources. (If you are editing existing content, post the current version along with your edited version, and clearly mark which is which.)

YOUR ANSWER HERE

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

Rb0035 (talk) 03:21, 13 May 2015 (UTC)

Pan Yuliang

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

For my gap analysis I identified a missing piece of Pan Yuliang's history. This particular missing segment has to do with Pan Yuliang's introduction and eventual expertise in the western style art of oil painting. I was able to identify this gap through my initial readings in The Guerrilla Girls’ Bedside Companion to the History of Western Art by The Guerrilla Girls along with other sources that mention her work particularly with oil paint. In the Wikipedia page of Pan Yuliang, nothing is actually mentioned about her interest in oil paintings other than it mentioning “western style”. Adding information about Yuliang using oil paint is important since it was not a very common thing in China. Additionally, this type of painting drew in new emotions and thoughts in comparison to the traditional ink style in China. Her style of oil paintings was the basis of her art work and was well known for its combination of intertwining both Eastern and western styles of painting. On top of that, She also had experience in sculpting and sketching which are also not mentioned in the original wiki. But most importantly, Yuliang’s expression of oil paintings helped to portray her nude paintings to have a more realistic and erotic female figurine. This was in part a reason as to why she had to leave China since most traditional Chinese paintings did not include portrayals of the nude. Overall, the facts about Pan Yuliang’s focus on oil paintings would be an important point to provide as it was a major part of her history as an artist.

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Original Wikipedia text for "Early life and Education": Zhang Yuliang was born in 1895 in Jiangsu Province, China. After the death of her parents when she was 14, she was sold by her uncle to a brothel, where she was raised to become a prostitute. She attracted the attention of Pan Zanhua,[1] a wealthy customs official, who bought her freedom. He married her as his second wife and helped with her education; she adopted his name as her surname.[1]

They moved to Shanghai, where she passed the exams to enter the Shanghai Art School in 1918, where she studied painting with Wang Jiyuan. After graduating from there, she went to Lyons and Paris for further study, sponsored by Pan Zanhua. In 1925, she won a scholarship to study at the Roman Royal Art Academy in Italy.[1]

Original Wikipedia text for "Career":In 1926, Pan Yuliang won the Gold Prize for her works at the Roman International Art Exhibition. In 1929, while she was still in Rome, Liu Haisu invited her to teach at the Shanghai Art School and she returned to China. She had a solo exhibit in Shanghai, where she was honored as the first Chinese female artist to paint in Western style. She was also invited to be a professor of the Art Department of the National Central University in Nanjing. She gave five solo exhibitions in China from 1929 to 1936, but her work was severely criticized during this period by government officials and conservative critics - in part because she featured paintings of nudes.[1]

Pan left Shanghai for France in 1937, and settled in Paris.[2] There she won some acclaim. After moving to France to pursue her work, Pan joined the faculty of the École des Beaux Arts.

She worked and lived in Paris for the next 40 years. Chinese expatriate artists in France elected her the chairman of the Chinese Art Association. Her works were exhibited internationally, especially in the United Kingdom, United States, Germany, Japan, Italy, Switzerland, Belgium and Greece.

Pan died in 1977 and was buried in the Montparnasse Cemetery of Paris.

In 1985, many of her works were returned to her native country, where they are held by the National Art Gallery in Beijing and the Anhui Provincial Museum in Hefei.

My addition to "Early life and Education" in the second paragraph:. During her stay at the Shanghai Art School, Pan Yuliang adopted the western style of oil painting. [1] It was at this time that Yuliang was more interested with western style oil painting over the traditional ink style that was commonly used around China.[1]

My addition to "Career": During the beginning of the 1930’s, the majority of Yuliang’s artwork was through the style of oil painting [4]. Her attraction to the western style of oil painting allowed her to express the sexuality of the nude female [1]. Many of her earlier works mostly consisted of nudes of herself [1]. During her stay in Paris, Yuliang developed a style that incorporated the use of oil, ink and water colors in her professional work. [2][3] She would also start making sketches and sculpting as a part of her career as an artist [3][4][6]. It was at this time that Yuliang was able to hone her skills in combining both Eastern and western styles of art. Her transition into this technique was more widely accepted in the European context which enabled her to experiment with different types of styles over time [5][6]. In 1954, Yuliang was included in a documentary called "Les Montparnos" along with other renowned French artists and as she was the only Chinese artist in the film[5][6].

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• 1) The Guerrilla Girls Bedside Companion to the History of Western Art. Penguin Books. 1998. p. 72
• 2) http://www.china.org.cn/english/culture/223285.htm A Lonely Legacy of Pan Yuliang -- china.org.cn. (2007, September 9). Retrieved May 11, 2015.
• 3) http://www.lingnanart.com/2013_ChineseMaster/PanYuLiang/Master_panyuliang.htm Tan, J. (2013). Pan Yuliang - Portrait of chinese Masters. Retrieved May 11, 2015.
• 4) http://en.artron.net/exhibit/zl.php?zlid=7233 A special Exhibition of Pan-Yuliang's Work Focused on Feminine Appeal. (n.d.). Retrieved May 13, 2015.
• 5) FIFTH SOURCE

Aquaflare93 (talk) 04:23, 13 May 2015 (UTC)

Berni Searle

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

YOUR ANSWER HERE

Propose a paragraph of new or substantially edited content based on reliable sources. (If you are editing existing content, post the current version along with your edited version, and clearly mark which is which.)

YOUR ANSWER HERE

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• FIRST SOURCE
• SECOND SOURCE
• THIRD SOURCE
• FOURTH SOURCE
• FIFTH SOURCE

Hallemcc (talk) 05:09, 13 May 2015 (UTC)

Chinese Feminist art movemnt and female artists

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

I remember that for one of our index-card writing, we were asked about our impressions about the wiki page of feminist art movement. The page stroke me with how short it is. With a brief introduction and a concise history review that roughly stated off since the 1960s, feminist art movement from Wikipedia give me the impression that the movement is a comparatively modern and short-lived one. But I know that it is not the case. At the same time, I also noticed the second focus for Western cultures. The links in see also are almost related to western feminist art and art movements. However, with a closer look into the details, there much more intended information in the links that expand the historiography of feminist at movement and artists. However, my interest in Chinese artists and art movements are still left blank. While in the list of 20th-century women artists can trace back to as early as 1880, Chinese women artist is not mentioned until 1910, and the first female artist mentioned, Chien-Ying Chang, was known for her career in Britain. Personally I think it is natural for the western world to know Eastern culture and history through those who have access in the western world in the early days. But in the online domain, I feel like it is also important to mention and appreciate the local Oriental culture and people in order to have a full idea about both the development worldwide and the differences between regions and cultures. Not only as Western centered and spread out to the other parts of the world. Hence, I want to set up a page for Chinese feminist art movement as well as an archive for specifically Chinese female artists who have been long neglected.

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The Wikipedia Page Women_in_ancient_China describes ancient Chinese women as extremely subordinated and inferior compare to male members of the family. It was true, and in some degree still the truth. But that does not mean that there was no power dynamic between gender, nor no progressional moments or movements for women ever existed in Chinese history. As a matter of fact, blah blah... The poem- Meng 氓 Historical figures: contemporary figures:

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• 中国古代女性艺术家散伦 ( Ancient Chinese Female Artists)

• Women Doctors of Ancient China

• The Status of Women in the Song and Tang Dynasties

• 30 Years in the Making: Female Artists in China [1]

• Inside Out: New Chinese Art

76.22.65.112 (talk) 05:20, 13 May 2015 (UTC)

Nina Katchadourian

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

I googled/wikied every single female artist I could think of to see which page had the most issues and least amount of content and Katchadourian's in the most problematic. There is some general information on her personal life and work however there are only three resources cited which makes me wonder just how accurate these statements are. She was born in California however her parents' backgrounds are not mentioned however both her parents are immigrants which could make it more difficult to find information on them. Also some people may not care enough for her heritage to actually research further into it. Another major problem I have with the article is that statements within the article seem very opinionated instead of factual/neutral. This leads readers into thinking of the artist in a different light and may influence their opinion of her in the future. The very fact that there is such a void of knowledge on this artist is a statement to the fact that this artist and women artists in general do not receive much acknowledgement unless they are directly associated with someone notable (take a look at Yoko Ono's page - lots of content). There are also external links on the page but aren't connected to any of the information on her page.

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Information on her work and thought process as well as additional background information. "Katchadourian is an interdisciplinary artist working in sound, video, sculpture, photography, and installation. Her work is anchored in Conceptual art, art that places a large premium on ideas (or concepts), rather than on the visual (or retinal) qualities of art as a material image or tangible object...Katchadourian focuses on the way language operate. She is interested in systems of communication, such as verbal language or mathematics, and their rules, such as grammar or arithmetic logic, for combining elements into larger units of meaningfulness, which she slyly subverts in wacky projects.Katchadourian's interest in language, especially in issues of translation and mistranslation, directly reflects her autobiography. Like many Americans, she is the child of immigrants and grew up in a multilingual, multiethnic household. Her mother is ethnically Swedish but nationally Finnish; her father is an Armenian who was born in Turkey during the American diaspora and then raised in exile in Lebanon."

Her current wiki page: "Nina Katchadourian (born 1968, Stanford, California) is an Armenian-American artist" My addition: "Born in Stanford, California, Katchadourian grew up spending every summer on a small island in the Finnish archipelago, where she still spends part of each year."

She has also subverted tradition Flemish paintings in her Lavatory Self-Portraits in the Flemish Style where she took pictures of herself in an airplane bathroom, recreating 15th century Flemish images.

Added reference to the information currently on her page. "She lives and works in Brooklyn, New York."

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• Themes of Contemporary Art, Jean Robertson and Craig McDaniel

Jogojo (talk) 07:24, 13 May 2015 (UTC)

Aquaflare93 (talk) 08:50, 13 May 2015 (UTC)

Ana Mendieta- Life and Work- Body Tracks

Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

After learning about the complex work and life of Ana Mendieta, I reviewed her Wikipedia page and found several gaps, indicated especially clear in sections with single sentences. The gap that I want to focus on is Body Tracks (1982) within the Life and Work section. While her entire page could use more information and closer review, Body Tracks was especially alarming because the description is limited to one sentence that is not only general but also somewhat inaccurate and not comprehensive. The work is described as a single performance piece that was created in 1982. The citation that follows takes you to an article that lacks sources and attempts to briefly describe Mendieta's work but in simplification, omits or confuses facts about Mendieta and why she created her work which is then translated to Wikipedia. Ana worked on several Body Tracks pieces throughout her career, the first introduced in 1974, and also made in 1982 as the current Wikipedia indicates. The description also omits components of her work such as her use of blood or red paint as a signifier for blood, her body as a paint brush, and how the creation was influenced by Yves Klien’s Anthropometries. The description of music also limits the understanding of her work and reduces what is traditional and culturally rich music to “pulsing Cuban music” and lacks details that are necessary to contextualize it in order to better understand what she is trying to communicate through her art.

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YOUR ANSWER HERE **Original** ===Body Tracks (1982)=== Body Tracks (Rastros Corporales) are long, blurry marks that Mendieta's hands and forearms made as they slid down a large piece of white paper during a performance heightened with pulsing Cuban music.

• • Proposed Version**

Body Tracks (1974-1982)

Mendieta first performed Body Tracks in 1974

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• FIRST SOURCE
• SECOND SOURCE
• THIRD SOURCE
• FOURTH SOURCE
• FIFTH SOURCE

Aanderle (talk) 16:29, 13 May 2015 (UTC)

Hung Liu

In Hung Liu’s Wikipedia page, there is no valid source for her biography. As much as she considers herself as feminist artist, there is no such description in her Wikipedia page about this and she is not included in the list of feminist artists either even though her work are often being referred to as feminist art work in many articles. Apart from being left out as a feminist artist, there is also no description about how her work is feminist art through challenging ideas about alienation which Chinese immigrants faces, the being of “exotic others” by being Chinese (Asian) to the western world, the presentation of “history is a verb”(1) instead of something in the past and has no effect to present, and the inferiority of women in the history of China. There is not enough information about the core ideas that she constantly tries to express through her art, and only the socialist realism is being mentioned. In this case, no one will know the connections between her work and feminist art and how these are presented in her art work at all. Only one of her exhibitions is being mentioned in the Wikipedia page, and none of the names of her art works is included in the introduction of exhibition but only with a brief overview of the topic of the whole exhibition. Many of her famous work such as Resident Alien, Mu Nu, and other paintings are not mentioned, which are great examples of the variety of ideas that she continuously and repeatedly express through many of her work. The kind of art that she has done has been greatly reduced to only about the intersection between her own history and Chinese history and for bringing “[history and memory into the present for American viewers]”. This kind of understanding of her work is indeed a clear form of alienation and the “exotic others” by only drawing attention to the part in her art work that they are not about Americans with other origins of races. The combination of the lack of inclusion of her most representative art work and the "othering" of the topics of her work leads to the alternation of who she is as an artist and how her work can inspire people as a feminist.

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YOUR ANSWER HERE

List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)

• FOURTH SOURCE
• FIFTH SOURCE

Ytse0317 (talk) 21:02, 13 May 2015 (UTC)