User talk:Ram05

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Eau de Cologne
Eau de Cologne is a series of art magazines and group exhibitions from Cologne, Germany in 1985, 1987, and 1989. It was founded by German art-dealer Monika Sprüth and focused on gender inequalities in the art world.

“It was a provocative act,” Sprüth stated, as Eau de Cologne focused on feminist artists who addressed women’s role in various ways, bringing a feminist discourse in the forefront of the art industry. Sprüth introduced emerging American female artist such as Barbara Kruger, Cindy Sherman, and Jenny Holzer to Europe, paving a greater artistic and economic relationship between United States and Germany. “We were aware of these very interesting women artists who were not that visible and didn’t have any power in the art market in those days. These five artists, they had a very subtle, unique way of discussing the role of women in society, intellectually and aesthetically,” said Sprüth to Los Angeles Times in June 2016. By providing a venue for art by women, Eau de Cologne became unique in the male-dominated art scene.

Monika Sprüth
Monika Sprüth (born 1949) is a German art-dealer who opened a gallery in Cologne in 1983. She created the first two magazines entirely with the help of local printers and acquaintances. Sprüth employed the help of Jutta Koether (German), Karen Marta (American) to develop the concept of the third magazine with a heavy focus on criticism in comparison to the prior publications.

History
Sprüth first conceptualized the magazine to shed light on women’s experiences —their role in society, intellectually and aesthetically — in the 1980s and 1980s by featuring emerging female artists. Eau de Cologne was about creating exposure between art-world cities, particularly Germany and the United States. The magazines, published in 1985, 1987, 1989, featured bold interviews with artists and essays of thinkers through a feminist lens, while the exhibition appreciated the labour of women artists who later became part of the post-modern canon and icons of feminist art. The magazines were only distributed during the exhibitions.

Publication Aesthetic
The 1985 and 1987 issues were mostly constructed by Sprüth, where she laid the spreads out by hand and printed the magazines with support from acquaintances and local printers. The covers chosen, respectively, gave no visual gratification to readers, disputing the idea that the market only capitalize on female cover models. The variety of artists and gallerists featured further emphasized the many ambitious women in the magazines for it refused to focus on one. Though it only focused on a single gender, Eau de Cologne distributed attention equally to the women featured.

1985: No 1
Eau de Cologne No. 1 was published in 1985, featuring artists that Sprüth believed to be the “most interesting aspects” of contemporary art. The exhibition included Ina Barfuss, Jenny Holzer, Barbara Kruger, Cindy Sherman, and Rosemarie Trockel held from 12 November to 15 December 1985 at Monika Spruth Galerie. The catalogue includes female artists, writers, critics and art-dealers who also dealt with art and its social context. Since the art market establish popularity, Sprüth and her contemporaries investigate as to why the industry ignore art by women for buyers are vital in making artist breakthroughs. In an interview with Rosemarie Trockel, Sprüth said, “[it] seems that artworks by female sex cannot be well-marketed.”

1987: No 2
No. 2 further examine women’s art in the contemporary market and its existing structure. The exhibition ran from 13-29 November 1987 at Monika Sprüth Galerie. Artists attempt to analyze how the free-market system has allowed men to climb up the industry while women have stayed behind. To disrupt the male-dominated space, the artists challenge the conventions of rightful ownership and the establishment of aesthetic value. No. 2 argues that the people who create the popular aesthetic in the art world are men who buy the art; as a result, female artists such as Barbara Kruger, Sherry Levine, and Cindy Sherman “dismantle the patriarchal right of absolute ownership of the image” through the repeatability of photography as a medium. Their works created a critical discourse, confronting the traditional aesthetic standards. Yet, as artists, they had to work in unique ways and small editions to have meaning and value in the commercial market. Under these circumstances, the freedom to work and make art for these women was still a privilege, not a right; and the success that resulted is, nonetheless, “founded upon the criteria they have set out to challenge.”

1989: No 3
The third installment was at the Art Cologne Fair in 1989. No. 3 address what is called “Unknown Modes of Being (in Art),” which are ways of “producing unnaturalness.” Going beyond the natural world, through “idiosyncratic logic, [and] production of misunderstanding,” where art is not refined, is clarity. Artists are encouraged to remake, repeat, embrace the dirt-aesthetic, and have mixed position. These methods are described as “seriously hysterical [and] psychopathic;” and the result should be an “indigestible misunderstanding as clarity.” By changing the means of production and approaches to art, Eau de Cologne emphasized that feminist artists can create a new discourse of femaleness.

Critical Reception
In Joanna Burton’s essay “A Will to Representation,” Burton dishevels the praise of inspiration and innovation for Sprüth and puts on a critical lens on the feminist publication. Considering Sprüth-Magers Gallery’s dedication in contextual issues, Burton questions whether Eau de Cologne was simply made to promote a specific political agenda and garner market attention. The world in which the publications and exhibitions were introduced demanded a certain assertive people to be realized; however, Burton suggest that this “tough feminist post” has created a bias throughout the publication, unintentionally promoting a particular version of history.

2016 Los Angeles Exhibition
Upon expanding Sprüth-Magers Gallery to Los Angeles, Monika Sprüth and Philomene Magers revisited the first Eau de Cologne featuring then-emerging artists Barbara Kruger, Cindy Sherman, Jenny Holzer, Louise Lawler and Rosemarie Trockel. The exhibition provided historical perspective about the gallery, as well as the exhibitions and magazines. The works featured were from 1970s to 2016, almost fifty years of themes pertaining to the roles of women in society and the art world, and continuing to utilize art to carry the artists’ messages.

Your draft article, Draft:Marigold Santos


Hello, Ram05. It has been over six months since you last edited the Articles for Creation submission or Draft page you started, "Marigold Santos".

In accordance with our policy that Wikipedia is not for the indefinite hosting of material deemed unsuitable for the encyclopedia mainspace, the draft has been nominated for deletion. If you plan on working on it further, or editing it to address the issues raised if it was declined, simply and remove the, , or  code.

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Thanks for your submission to Wikipedia, and happy editing. Sam Sailor 04:14, 4 September 2018 (UTC)