Search Results (84)

In 1913, the Fabergé workshops in St Petersburg produced the most expensive of their famed Imperial egg commissions, the so-called “Winter Egg,” designed by Alma Pihl. Fashioned from translucent rock crystal and decked in a glittering array of gemstones, the egg followed several other designs on winter themes by the highly respected jeweller. In this article, Fabergé’s winter-themed creations are the starting point for an exploration of how ice, frost, and snow were portrayed by Russian artists of the late imperial period. Such works both reflected and realised many of the shifts in the art world from the mid-nineteenth century onwards, for example, the renewed focus on making art “national,” the rise of artistic opportunities for women, the erasure of boundaries between fine and applied art, the influx of such European movements as Impressionism and Symbolism, and the development of modernist approaches to content and style. The principal focus is on works by artists associated with the Abramtsevo artistic circle (Abramtsevskii khudozhestvennyi kruzhok). How did representations of ice, snow, and frost participate in the emerging dynamic between the national idea and the decorative, which in turn fed into the move towards abstraction? Why did these subjects appear frequently in art by women? Why was winter often presented through the lens of the imagined and the ludic? These works evidence a new subjectivity that arose from Abramtsevo artists’ greater freedom to render lived experience. The paths open to them when working outside the Academic system permitted creativity to range freely in the forging of a national modern style. Full article

The Ukrainian–Crimean artist Maria Kulikovska’s artistic practice has addressed war in Ukraine since the Annexation of Crimea and outbreak of war in the Donbas regions of Ukraine in 2014. In 2019 she created the video-performance Let Me Say: It Will Not Be Forgotten that responds to the ways artworks and women’s bodies are targeted by derisive retaliation and physical attacks during periods of political instability. Informed by explorations of feminism in post-Soviet countries, theories of prosthetic memory, and destruction art of the 1960s, I argue that Kulikovska does not let the destruction of her artwork silence her, but, rather, she uses destruction as a strategy to take control of oppressive forces. In their place, I argue that Let Me Say: It’s Not Forgotten demonstrates subjective and complex ways of building resilient feminist presents and futures that overcome oppressive violence and testify to continual perseverance. Full article

The article analyzes the meanings embedded in street art in Florence that portrays women, likely created by female artists. Between 18 May and 27 May 2024, during the Communities and Artistic Participation in Hybrid Environment (CAPHE) project, we observed a significant number of feminist street art pieces in Florence’s historic center. Using qualitative content analysis based on Gillian Rose’s methodology (2016), we interpreted the collected visual materials through semiotic and socio-cultural lenses. The findings revealed the deliberately interventionist nature of the analyzed works, addressing themes such as gender inequality, human rights, violence against women, and cultural stereotypes. This street art serves as a social manifesto and a means of activating both the local community and tourists, aligning with global feminist discourse while addressing Florence’s local issues. We conclude that Florence’s street art provides a space for visual resistance, education, and the promotion of gender equality and women’s emancipation in the context of contemporary social challenges. Full article

When it comes to acting in modern productions of Shakespeare’s plays, size is more than all talk. That is, though how much a character speaks often serves as the measure of a role’s size, “small parts” may have a lot to say—and, as it turns out, the actors playing them may have a lot (or too little) to do. Some modern approaches to dramaturgy and practice may mean that the performers playing roles not qualified as large are susceptible to isolation throughout the artistic process, possibly having reduced rehearsal time. If the number of spoken lines influences the number of rehearsal hours, an actor playing a “small part” may be at a disadvantage when it comes to opportunities for character development and the benefits of creative collaboration. (In a rehearsal process for A Midsummer Night’s Dream, for example, how active might Hippolyta’s participation be if she is not doubling as Titania?) Additionally, having fewer lines on the stage can mean inheriting more labor behind the scenes, since an available body is a valuable commodity in the economy of production (what tasks might Ursula undertake during Much Ado About Nothing?). The tension between “playing conditions” and “working conditions” in the theater is thus especially heightened for Shakespeare’s women, whose onstage existence can throw an uncanny shadow upon the offstage experiences of those who play them. Full article

Background/Objectives: Art-based community projects positively impact mental health recovery by fostering creativity, self-expression, and social engagement. Despite growing evidence on participatory art interventions, limited studies have used a mixed-methods approach to examine their effects. The present study examines how participation in the Artistic Couples project influences individuals’ subjective perceptions of recovery, psychological well-being, and self-stigma. Methods: This exploratory multi-center study employed an embedded mixed-methods design, integrating qualitative Photovoice methodology with a quantitative pre–post survey. Participants (N = 30) from five mental health institutions across Catalonia engaged in collaborative art creation with local artists. Qualitative data from Photovoice discussions and semi-structured interviews were analyzed using thematic analysis, while quantitative data from standardized measures were examined using paired t-tests and correlation analysis. Results: Qualitative findings revealed the following three key themes: (1) artmaking as an artistic couple, emphasizing the collaborative process and art as a means of self-expression; (2) social connections, highlighting increased belonging, emotional support, and reduced loneliness; and (3) understanding mental health recovery, showcasing art’s role in identity reconstruction and personal growth. Quantitative results indicated a significant improvement in the “Connecting and Belonging” subscale of the RAS-DS (t = −2.51; p = 0.023), particularly among women (t = −2.85; p = 0.019), suggesting enhanced social integration. However, no statistically significant changes were observed in overall recovery, well-being, or self-stigma scores. Conclusions: This study provides evidence that participatory community art projects enhance social connections and self-expression, which are key elements of mental health recovery. The findings suggest that creative collaborations facilitate emotional processing and challenge stigma. The improvement in social belonging supports integrating arts-based interventions in recovery-oriented care. Future research should examine long-term effects and gender-sensitive approaches. Full article

Objectives: The jumping ability and strength of the lower limbs in dancers are fundamental to their artistic performance. Similarly, the correct placement of the various leg positions, such as parallel and dehors, are essential aspects of dance technique. We aimed to analyze the effectiveness of a modified strength program on jumping capacity in parallel and dehors, and to assess whether this type of training improves the isometric strength of dancers. Methods: An experimental research study was conducted with pre- and post-intervention assessments on a group of nine semi-professional dancers (seven women and two men) (X = 20 years and DT = 6.67), with an average weight of 62.12 ± 7.38 kg and a height of 1.67 ± 0.05 m. Body composition, isometric strength in the lower limbs, and vertical jump capacity with feet in parallel and in the dehors position were analyzed. The “Simple and Sinister” kettlebell training protocol was implemented, reducing the number of sessions and the duration of the program while incorporating a progression in load. Results: Significant changes were observed in both the parallel jump and the dehors position; however, body composition and isometric strength, although showing higher values at the end of the intervention for all variables, did not demonstrate significant improvements. Thus, while in the pre-intervention phase, jump capacity was associated with multiple variables, in the post-intervention phase, an inverse association was found only with the percentage of body fat. Conclusions: A 12-week training program with two sessions per week is sufficient to achieve significant changes in the jumping ability of dancers, but not in the isometric strength of the lower limbs. Full article

Buddhist women in traditional China used embroidery—considered the most feminine art form—to produce images of deities, allowing them to visualize their religious aspirations while adhering to the decorum expected in Confucian society. This paper examines three Buddhist embroidery designs: one visualized in Avalokiteśvara (1619) and two from a catalog of embroidery designs titled A Collection of Scattered Red Clouds (mid-seventeenth century). By analyzing their similarity to the images found in popular illustrated publications of the seventeenth century, this study explores how Buddhist iconography circulated across different media. Through a comparative analysis of the embroidered works and woodblock prints featuring Buddhist deities such as Avalokitesvara and Bodhidharma, I demonstrate that seventeenth-century Chinese women embroiderers often utilized contemporary woodblock prints as models for their devotional embroidered works. The publications that supplied the models for the embroiderers vary from one for a pronounced ritual value—Dharani Sutra of White-robed One—to one that is fundamentally non-religious and educational—a painting manual titled Canon of Painting. This variety highlights the breadth of reading materials that reached the inner chambers of Chinese women, enabling them to engage with religious visual culture beyond their domestic confines and express their spiritual devotion through artistic means. Full article

The snow-based tourism, long a cornerstone of economic development for mountain destinations in the Italian Alps, is increasingly unsustainable. This study explores the potential of a cultural project dedicated to showcasing the representation of women in Alpine spaces as an alternative pull factor to alpine tourism. The project aims to revitalise the cultural and social heritage of Alpine regions, offering them renewed appeal while promoting sustainable development practices. Aligned with the Declaration of Jena, the project also aims to foster cultural sustainability by amplifying the often-overlooked contributions of women across professional, cultural, artistic, and recreational spheres in the Alps. Full article

Spanish film director Pedro Almodóvar has been detected early on by film critics as a Baroque filmmaker, a qualification to which he has agreed in interviews. This promotion of his style is certainly questionable as the word ‘Baroque’ is often used outside of its artistic and historical contexts. It is undeniable, however, that there are many Baroque features in his tragicomedy. One of the key aspects that ties Almodóvar’s early films to Baroque art is their exaggerated and melodramatic storytelling. Like Baroque art, which often featured grandiose and emotionally charged narratives, Almodóvar’s films are filled with intense emotions, complex relationships, and larger-than-life characters. This exaggerated portrayal of human emotions and experiences is a hallmark of Baroque aesthetics, which sought to evoke strong emotional responses from the audience. This paper seeks to focus exclusively on the rise of the director’s style in the last two decades of the 20th century that corresponds to Spain’s problematic and somewhat tragic transition from dictatorship to democracy and explore the ‘Baroque transitions’ that led Almodóvar to national, European and international recognition prior to the obtention of the Academy Awards he received for “All about my mother” in 2000. After defining the Baroqueness of his early filmography, this article will take a closer look at the ricochet trajectory he designed for actors such as Carmen Maura, Victoria Abril, and Antonio Banderas, who will all act in several corresponding roles and embody characters in transition, before becoming emblematic for the public. In the tradition of the Spanish Baroque, Almodóvar will develop his tragic outlook on his ever-changing culture around these iconic actors who will, in turn, unfold the complexity of the transition years for Spanish women and men. Full article

In contemporary art, the representation of the “body”, particularly the female body, has emerged as a crucial site of feminist critique and exploration. This is especially evident in the works of Iranian female artists, who challenge prevailing local and global discourses surrounding female embodiment. This study examines how artists such as Shirin Neshat (b. 1957), Parastou Forouhar (b. 1962), and Shadi Ghadirian (b. 1974) use their art to redefine representations of women’s bodies within the socio-political context of post-revolutionary Iran. The restrictive post-revolutionary environment, marked by mandatory hijab laws and stringent social codes for women, has profoundly impacted artistic expression. These artists navigate this complex landscape, utilizing their work to contest both the imposed limitations and the Western gaze that often reduces Iranian women to stereotypes. By interrogating these artistic representations through a feminist lens, this paper explores the intersection of gender, politics, culture, and artistic expression, examining how these artists contribute to a broader redefinition of the female body in contemporary feminist art. This study employs a qualitative, descriptive–analytical approach grounded in feminist theory, including perspectives beyond Western thought, to analyze how these Iranian artists navigate, subvert, and reimagine traditional representations of women. By analyzing specific works, this study aims to offer a nuanced understanding of how these artists challenge both Iranian and global audiences to reconsider the boundaries of gender, identity, and power within their specific cultural and historical context. Full article

Traditional costumes and crafts are a basic form and element of local culture and a vital pathway for perpetuating traditional art and design culture. They are an artistic form of historical and cultural significance. This paper focuses on three traditional costumes from Malta, Ireland, and Finland. The għonnella, worn by Maltese women of different social classes, consisted of a voluminous cape-like covering reinforced with whalebone and cardboard and was worn over the head and shoulders, reaching ankle length. Irish costumes were adorned with beautiful Irish lace, crochet, and embroidery. Celtic embroidery was added to clothing to develop a distinctive Irish dress style during the great cultural revival of the early 20th century. The Karelian costume from Finland was constructed using wool and linen. Ladies in Karelia wore handcrafted, highly embroidered gowns, and traditions were passed down from older ladies, including mothers and grandmothers. These costumes were collected in the late nineteenth and early twentieth centuries when Finnish Karelia was known as ‘The Old Finland’. This paper delves into the origins of these costumes and how social and cultural events, with their intriguing influence, shaped their styles, features, colors, and fabrics. Full article

Reflecting on the experience of curating Veronica Ryan’s work for the 2021 exhibition Life Support: Forms of Care in Art and Activism at Glasgow Women’s Library, this essay contextualizes the artist’s recent sculptures in relation to the theories, philosophies, and ethics of care that have recently gained increasing prominence in artistic and curatorial practice. Drawing on the philosopher Virginia Held’s understanding of care as inherently intersubjective, it proposes that Ryan’s sculptures model a comparable understanding of caring relations through their associative yet ultimately elusive operations. Ryan is recognized for her use of abstracted organic forms, particularly seeds, pods, husks, and fruits. Since moving to New York from Britain in 1990 and developing a career between the two countries, Ryan has engaged with industrial and mass-produced receptacles, molds, and packing materials, an interest which has expanded to include fishing wire, plastic bottles, and take-away food containers, alongside textiles. Yet, although many of these elements remain identifiable, the resulting works delight in category confusion between organic and prefabricated, instigating uncanny textural effects that engender perceptual uncertainty. Their chains of allusion resist singular, fixed meanings, generating a continual back and forth of association and dissociation that constitutes a sustained meditation on care’s relational complexity. Full article

Madeleine Lemaire (1845–1928) might appear to be a typical “woman artist” of the Belle Époque, a painter of images of fashionable women, equally popular for her watercolor flowers and her skills as a salon hostess, with biographical sketches of her then and now assuming that if she had sex or romance, it was with men. However, a closer look has also revealed Lemaire to be potentially atypical. Unlike her women colleagues, she exhibited salacious nudes; her work was once described as having “a bit of the mustache”; and she generally dodged discussions of either her gender or her sexuality, even though her social group included those who openly flaunted their own non-conformities. Using archival materials, artworks, and contemporary theory to unpack the possibilities presented by Lemaire’s case, I also explore the gains for art history in reconsidering previously female-identified and straight-seeming artists in more fluid gender and sexual terms. What might we discover if we recognize ourselves as the constructors of a cisheteronormative past, reading into the archives the assumptions that our current culture’s binary norms enforce? Full article

In physical environments and cultural landscapes, we most often deal not with separate colors, but with color combinations. When choosing a color, we usually try to “fit” it into a preexisting color context, making the new color combination harmonious. Yet are the “laws” of color harmony fundamental to our shared cognitive architecture, or are they cultural products that vary from country to country? To answer these questions we conducted an experiment with 599 participants aged 18 to 76 from eight different countries, including Algeria (MA = 26.2 years; SD = 8.8; 49 men, 26 women), Belarus (MA = 19.8 years; SD = 9.1; 19 men, 63 women), Italy (MA = 29.0 years; SD = 12.8; 23 men, 67 women), Mexico (MA = 20.0 years; SD = 7.0; 34 men, 23 women), Nigeria (MA = 34.7 years; SD = 10.5; 29 men, 32 women), Russia (MA = 24.6 years; SD = 6.3; 17 men, 72 women), Saudi Arabia (MA = 24.5 years; SD = 8.6; 28 men, 38 women), and Chile (MA = 34.3 years; SD = 15.1; 35 men, 43 women). To create experimental stimuli, we used 10 color combinations composed by the Russian avant-garde artist Mikhail Matyushin and his disciples for the Reference Book of Color (1932) based on shades that were typical in architectural design—yellow ochre, light umber, light ochre, and burnt umber. We removed the “intermediary” linking color from each of the selected color triads and asked participants to adjust the color of this band according to their liking. Mapping 2995 color choices into CIELAB and CIELCh color space to identify their chromatic characteristics (hue, lightness, and chroma), we demonstrate graphically that color triads in different cultures have a different “geometry” in CIELAB color space and on the color circle. We conclude that the revealed patterns of these relationships reflect cross-cultural “shifts” in human perception of color harmony. The analysis presented in this paper will facilitate opportunities for architects, designers, and other color professionals to create culturally specific harmonic color combinations in urban environments. Full article

This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like “postmemory” link second-generation Jewish artists to past experiences and unveil the erasure of Jewish women’s memory of Jewish genocide. Analyzing Hersko and Hiller’s diverse works, from landscape photography and sculpture to performance art, it underscores their shared pursuit: illuminating lingering “ghosts” of the Holocaust in modern landscapes. Susan Hiller’s The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon. Judit Hersko’s art calls for bearing witness to a potential climate catastrophe in Antarctica. The article culminates in the exploration of “The Memorial” (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany. In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war. Full article