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
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. . Moffat, Charles. "An Overview of Feminist Artists of the 20th Century." - The Art History Archive. N.p., 2005. Web. 07 May 2015. . "Untitled (Two Necklines)." Untitled (Two Necklines). N.p., n.d. Web. 07 May 2015. . "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. . "A World of Art - Biographical Sketch: Lorna Simpson." A World of Art - Biographical Sketch: Lorna Simpson. N.p., n.d. Web. 07 May 2015. .

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) Touch IV, 2010 (22 monitors video installation. A project with sex workers) [|(Untitled) Blue Lady], 1999-2002 (carved teakwood, metal, and indigo sculpture) Kopaweda Pilla Gudi (children’s temple built in Bastar) Nalpar (multiple water pump site sculptures and enclosures)
 * Attempts to listen to the testimonies of those involved in an effort to understand them.
 * Aimed to represent a group of people often looked down upon in society and show their relatable humanity and identity.
 * Explores the contrasting ideas of South Asian culture including the indigo trade, village witch trials, and fertility goddesses.
 * Created a meeting place for youth, as well as a place for collaboration and celebration of Adivasi culture.
 * 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

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

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

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

 * 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. 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 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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Early Life and Education
Some of Kiki Smith’s earliest influences for her artwork were inspired by her home life growing up. Smith originally gained practice with sculpture making when she was just a child, helping her father make some of his art. Smith was brought up Catholic, which has been cited to later influence her choices to create certain art pieces. When smith was a bit older in the 1980s, she experienced extreme loss when one of her younger sisters died due to AIDs. This experience also greatly influenced her to make much of her early work, which surrounded the concept of diseased bodies.

Work
Kiki Smith is an artist that works with many different types of media. She is renowned for her sculpting, printmaking, drawing, and jewelry making. But in addition to her multimedia practices, she is also famous for the unique reoccurring themes within her art such as health, gender, sexuality, and the self. Smith’s fascination with human condition and nature has also provided inspiration for her artwork. Much of her work has become famous for bringing light to issues that are often hushed by society. All of these motifs are strung through her multimedia work.

There is a citation needed for the Neuberger Museum of Art which can be found in this New York Times article.

Printmaking
Some of Smith’s most famous prints have been displayed at MOMA. Unlike other artists who produce prints, Smith creates both handmade and mass-produced digital prints.

Sculpture
Her upbringing as a Catholic has also had an impact on her decision to use biblical figures in her artwork—specifically the Virgin Mary in her piece “Mary Magdalene”. Smith has also used many different mediums to create her sculptures. Some of these mediums include (but are not limited to) paper, resin, bronze, and porcelain.


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All of these can be found in my footnotes.

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 “[|The 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. .

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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 * FIRST SOURCE
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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, [http://www.museen-boettcherstrasse.de/ausstellungen/sie.-selbst.-nackt.-/ 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. These photographs portrayed African women's bodies as sexual objects against their will, which satisfied colonialist's fetish of the exotic "other". 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. Photographing women nude is a revolutionary practice, because the most common photographic resistance technique has been an effort to cover up African women's bodies completely. 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 is a homeless shelter for girls in Cameroon. 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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 * 5:

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

Alina Szapocznikow

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

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 and is widely regarded as feminist art (2). I find it strange that her Wikipedia page barely mentions her art, or her large exhibition that was hosted in Europe as well as in the United States when she was primarily known as an artist and dedicated her life to creating art.


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Alina Szapocznikow's exhibit of her artworks was called "Alina Szapocznikow: Sculpture Undone, 1955-1972" and was curated by Elena Filipovic and Joanna Mytkowska. It was organized by WIELS Contemporary Art Centre in Brussels (September 10, 2011-January 8, 2012), the Museum of Modern Art in Warsaw in collaboration with the Hammer Museum in Los Angeles and the Museum of Modern Art in New York (October 7, 2012- January 28, 2013). The exhibit was made up of over 60 sculptures and 50 works on paper, including many drafts that she had created of her sculptures. She used many experimental materials like polyester resin and polyurethane foam to reflect the metamorphosis of body and form and the elasticity of the human condition (3). Her works were created in Communist Poland where individualism was discouraged and female embodiment didn't even exist until the 1990s. Szapocznikow dedicated her life to fighting for the visibility of sick, aging, or not ideally beautiful bodies through her art (2). She created a visual language to portray the changes happening in her own body. Her own body was racked by disease and she explored this through unconventional media in her pieces Torsos (1968), and Fetishes (1970) (4). In 1970 she visited New York City where she exhibited at the Bonino Gallery. In this exhibition, there wasn't any physical art work presented, but rather project proposals pinned onto the walls where Szapocznikow described her plan to create a double-scaled model of a Rolls-Royce carved from pink Portuguese marble. Her persistent spirit and dedication to her art is shown in this quote: "Despite everything, I persist in attempting to fix in resin the imprints of our body: I am convinced that among all the manifestations of perishability, the human body is the most sensitive, the only source of all joy, all pain, all truth… On the level of consciousness because of its ontological misery which is as inevitable as it is unacceptable" (5).


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(1) "EXHIBITIONS." MoMA. 7 Oct. 2012. Web. 12 May 2015. .

(2) Zarzycka, MJ. "Alina Szapocznikow." Chapter 3: 152-207. DSpace. Web. .

(3) "Hammer: News Release." Hammer. UCLA, 3 Jan. 2012. Web. 12 May 2015. .

(4) "Alina Szapocznikow." Polish Cultural Institute of New York. Web. 12 May 2015. .

(5) Pollock, Griselda, "traumatic encryption: the sculptural dissolutions of Alina Szapocznikow" in: After-affects, After images. Manchester University Press, 2013, 165-222

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

Feminist Art

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

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

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

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 introduction 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 most important, as opposed to just the outcome (1). She is also known for the years she spent building and creating in rural settings with collaborative 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 the purpose of serving women and children in the communities in which she worked. 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 the acts of oppression, hierarchy, and violence that were 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

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

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. .

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

Carolyn Drake

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

I discovered Carolyn Drake through the 'Requested Wikipedia Articles' page under the Visual Arts category, and am amazed she does not have a page on Wikipedia yet. Carolyn Drake is a documentary photographer who has been recognized by several renowned organizations, causing her to receive the Lange-Taylor Prize and a Guggenheim Fellowship. She has won multiple extremely competitive awards, including the World Press Photo Award, which receives over 100,000 photo submissions annually and only selects about 45 winners. Additionally, Carolyn Drake works extensively in regions that many know very little about, raising awareness of the lives and struggles of many under-recognized and -assisted people in the process. She works creatively with the people she photographs, sometimes even asking them to mark on the photographs she takes.


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Education

In 1994, Carolyn Drake graduated with a degree in American studies and Modern Culture and Media from Brown University. After graduating, she worked as a producer, interactive designer, and writer in New York City. Before completing a master's degree in visual communications at Ohio University, Drake studied from 2001-2002 at the International Center of Photography from 2001-2002.

Photography

While earning her master's degree, Drake interned at National Geographic. She used a graduate research award from Ohio University to photograph a group of Orthodox Jews (Lubavitchers) in New York, which National Geographic published in 2006.

In 2006 and 2007, Drake took photographs of people in Ukraine's Donetsk coal basin. These images ultimately took second place in the Daily Life category of the World Press Photo Award.

For her first book, Two Rivers, Drake traveled throughout the land between Amu Darya and Syr Darya for five years to gain a better understanding of how people there lived, especially because global warming and previous agricultural practices worsened their abilities to grow food. Her work was praised for its color and humor despite the situations she depicted.

Wild Pigeon, Drake's second photobook, centers on the Xinjiang Uyghur province in western China. During her time in that region, riots broke out in the provincial capital of Urumqui and tensions between residents and outsiders made it so Drake could not communicate as effectively with Chinese in the cities. To allow residents to share their stories, she asked them to mark on her photographs.

Books

Two Rivers (2013)

Wild Pigeon (2014)

Awards

2008 - World Press Photo Award- Second prize stories, Daily Life

2008 - Lange-Taylor Prize

2010 - Guggenheim Fellowship in Photography


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My sources have grouped with the student below me's work for some unknown reason. I apologize.

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

Mitsuko Tabe

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

Mitsuko Tabe was one of the founders of Group Kyushu-ha, a Japanese group of artists associated with the avant garde anti-art movement and pop genre. It existed around the time of the short-lived Neo-Dada movement, a postwar movement that includes artists such as Yoko Ono. The gap I found was specifically for Tabe as a Japanese femal artist, but there is also a larger gap of Japanese artists because the information about Group Kyushu-ha and its members is limited as well. While none of the notable Group Kyushu-ha members have their own Wikipedia pages, most of their hyerlinks are directed to other sites. The male members have hyperlinks of online galleries in English, yet Tabe’s hyperlink is sent to a timeline of her exhibitions written in Japanese. This further ostracizes Tabe’s work because her information is neither readily available, because of the language boundary, nor well circulated. While there is already an existing limitation of knowledge of Japanese artists in general, the absence of information about Tabe exacerbates the limited knowledge of Japanese women artists, who exist along the intersection of gender and race. In Wikipedia's category of Japanese Artists, notable artists like Yoko Ono and Yayoi Kusama are unlisted, despite their contributions. They are however, listed under Wikipedia's Japanese Women Artists category amidst predominantly contemporary manga and anime artists. The lack of information about women Japanese artists from the 60s and 70s is regrettable because of their salient involvement and contributions to the avant garde movement, performance art, and Japanese feminism progression.


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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 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 social 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 to be in conversation with them through their performances in the streets. While the style and texture of Tabe's independent art was similar to Group Kyushu-ha's collaborative art, Tabe would in addition present social awareness 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, as her work focuses on gender, sexuality, and identity. For instance, while pregnant, 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 Tabe 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 other female artists.


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 * "Mitsuko Tabe". Clara: Database of Women Artists. National Museum of Women in the Arts. Retrieved 13 May 2015.
 * Tusman, Lee. Really Free Culture. PediaPress.
 * Yoshimoto, Midori (Spring 2013). "A Woman and Collectives". Duke University Press. Volume 21 (No 2: 475-488).
 * Cotton, Charlotte. "Pop and the Traveling Image". Walker Art Center. Retrieved 13 May 2015.
 * Midori, Yoshimoto (2006). "Women Artists in the Japanese Postwar Avant-Garde". Woman's Art Journal.

Belleachen (talk) 01:27, 13 May 2015 (UTC)

Pushpamala N.

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

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).


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 * (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


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 * 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.


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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. .
 * 5)Crow, Kelly. "The Gagosian Effect." Editorial. The Wallstreet Journal. Dow Jones & Company, 11 Apr. 2011. Web. 11 May 2015. .
 * 6)"Cecily Brown - Gagosian Gallery." Cecily Brown - Gagosian Gallery. N.p., n.d. Web. 12 May 2015. .
 * 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 the Iranian artist Shirin Neshat. After looking at her page and then viewing a separate list of Iranian women artists, I decided she had much more information on her page and seemed to be more well known compared to other Iranian women artists. That is when I found the page for the Iranian-born artist Sara Shamsavari. Her wiki page did not give much information on what kind of work she did and what her work was about so I had to learn about her through various other websites and journal interviews. There are many gaps to fill on Shamsavari’s page but the most problematic one in my opinion is that there is nothing written under the "Work" section about her photographic series of women wearing veils or what her work is about. Her projects include women of various ethnicities that collectively share the choice to wear a hijab, or veil, in Westernized countries. Shamsavari’s work is important in showing that not all women feel oppressed in Muslim cultures for wearing the hijab and that media only portrays them in that way. Shamsavari refers to her fashionable subjects as “hijabistas” and tries to concentrate on their creativity and beauty rather than their religion. Her work can inspire other women, especially Muslim women, to feel comfortable in how they dress in western societies where they might feel excluded and criticized, as well as teach people that many women are happy and feel beautiful wearing a hijab and do not need saving.

The existing content under "Work" section
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Shamsavari's work has been exhibited in galleries and public spaces in London, Paris, New York City and Hong Kong including the Institute of Contemporary Art, London City Hall, The Royal Festival Hall, Photofusion, Selfridges & Co, Espace Pierre Cardin, (Studio 55) and Corridor Gallery. Her work, exhibitions and profile have featured across various media and publications including BBC,[7][8] ITN,[9] Reuters,[10] The Guardian[11][12]i-D, Dazed & Confused,[13] Volt[14][15][16] and Brownbook.

Sara has delivered a number of artist talks, lectures and workshops at institutions, venues and events including Tate Britain, The Apple Store, Kings Place, The Southbank Centre (WOW Festival) and the Royal Institution of Great Britain (Cr8net).

Shamsavari is also a musician, performing both as a solo artist and as part of choirs and collectives. She has performed in venues including City Hall's London Living Room, the Victoria and Albert Museum, and Stratford Circus.

My addition to the "Work" section

Shamsavari began her first project, London Veil, in 2010 where she took numerous photographs of women wearing hijabs on the streets of London. During this long process she would walk up and down streets finding various Muslim women she wanted to photograph, and after taking hundreds of pictures she would sift through and choose 35-50 images she as happy with. She then expanded her project to two other major international cities, Paris and New York, in which she named the series of photographs taken Paris Veil and New York Veil. The inspiration for her projects arose from her own experiences of prejudice and negativity growing up in London as an Iranian-born woman. In her work she emphasizes focus on the “uncelebrated communities” that are portrayed in cliché and stereotypical ways and reveals the unique qualities and individuality behind each person photographed. She chose to photograph women in London, Paris, and New York because in these western societies Muslim women choose to wear this attire and are not forced to as they are in many Islamic countries. Most of her work looks at present-day social and cultural concerns as she tries to transform these into ideals of non-judgment and equality. Not being Muslim herself, she does not aim her project as a way of advocating or criticizing the hijab, but recognizing the strength and originality of each individual participant, despite the prejudice and inequality they face due to their faith. Shamsavari believes that differences should be celebrated and in choosing photography as her medium, she can connect people who are different from each other and bring them together from any distance. In her photographs many of the women are wearing colorful, vibrant hijabs and smiling or making silly faces, bringing out the personality of the woman behind the veil and individualizing each person’s differences. For Shamsavari, this proves wrong the misconception that women who veil are simple and uninterested in fashion and celebrates this kind of beauty that is not widely recognized.


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

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

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]
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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) Girls, Guerrilla.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) http://ravenelart.com.cn/m/article.php?cid=21&list=233&lan=en Chen, O. (2006, April 1). 羅芙奧藝術集團 ( Ravnel international Art). Retrieved May 11, 2015.
 * 6) http://ravenel.com/artwork.php?id=931&lan=en 潘玉良 《 浴後四美姿 》羅芙奧台北2007春季拍賣會 編號 066 潘玉良 浴後四美姿( Pan Yuliang four beauties after bath catalogue note) . (n.d.). Retrieved May 13, 2015.

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.

In class we learned quite a bit about Zanele Muholi, the South African photographer. I was so interested in, and passionate about her work that I decided to do more research on her. I looked at her Wikipedia page and noticed that, even though there were gaps, she had more extensive information on her page than most other female artists did. While reading about Muholi, I came across a talk at Brandeis University that was about three South African, feminist artists. That’s when I stumbled upon Berni Searle, and after looking at her Wikipedia page, I noticed how extremely bare it was. The page included two sentences of who she was, the institution she studied at, a single exhibit she was a part of, and a short list of awards she has received. Her bibliography was completely empty, and there was no detailed mention of any one of her pieces or why they were important. This was astounding to me. Searle was being talked about alongside Zanele Muholi, yet only Muholi had an adequate Wikipedia page. If I were unaware of the substantial gaps within Wikipedia, I would have assumed Searle was less important, or that she was not as good of an artist as Muholi. However, after researching both, it is clear how important, talented, and intelligent the both of them are. I realized that Wikipedia, and the information available on Wikipedia, shapes the knowledge that people have. Wikipedia is an accessible, clear, and convenient tool that is used to gain knowledge. It is important that we recognize the gaps on Wikipedia so that we understand there is so much more knowledge and information out there to be consumed. Art, and many other practices, are not just done by Western, heterosexual, white men, and it is crucial that we recognize this disparity on Wikipedia.


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Searle is widely known for her attention-grabbing statement on race in her Colour Me series from 1998 that she presented at the 7th International Cairo Biennale (1). The series originally contained twelve 42 x 50 cm block-mounted photographs (4) that were taken by Jean Brundit. Featured in these photos is Searle’s naked body and face covered in paprika, turmeric, or clove, (2) in which she fittingly entitled Red, Yellow, and Brown. This piece was Searle’s mocking reference to the Apartheid that took place in South Africa from 1948 to 1994 in which people where divided into in to three racial groups: “black,” “white,” and “coloured.” Searle, being a part of the “coloured” group, wanted to criticize that term that she refers to as “contentious.” The work is said to be a “visual morphing” (3) of the perception that bodies are “coloured,” and that bodies can be categorized and segregated by the perceived color of their skin. The spices covering the artist’s own body is seen by many as a way to disguise the color of her skin, and therefore an aspect of her identity, while Searle’s nakedness is seen as a way to expose a different aspect of her identity (5). In a specific photograph of the series entitled Looking Back, Searle’s body, more evidently her mouth is smothered in spices. This piece has been interpreted as a representation of the oppression of women and their lack of a voice within society. Searle won the UNESCO award for this series in 1998.


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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.


 * 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.)

Unquestionably, with globalization, Western contemporary culture has had an enormous impact on Chinese contemporary culture. China's feminist art is also under such influence. It is appreciated and acknowledged that the origin of contemporary Chinese Feminist art and art movement is the westernization of China's social structure and norm. The word "feminism" did not exist in Chinese until the early 1910s with the Revolution of 1911 outburst and the rise of the New Culture Movement. Within the changes of political and social structure, people were exposed to Western ideas about equality and freedom, which contemporary Chinese Feminism was embedded. However, China has a long and well-established history. Ancient Chinese females's social roles had varied from dynasty to dynasty. At the same time, the development of Chinese ancient art and other respects of culture bred lots of distinguished female artists, who, even though lived in the conservative age,  are still inspirations for the progress of modern Feminism. The female narrater of the pre-Qin era poem Meng (氓) was portrayed as an independent and strong women who strived for her own career and happiness after betrayed by her husband. This was against China's traditional convention of male superiority, but it was valued and archived in the most respectful anthology. 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


 * 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.


 * 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.)

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."(1)

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."(2)(3)

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. (4)

Added reference to the information currently on her page. "She lives and works in Brooklyn, New York."(5)
 * 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)
 * (2)
 * (3)
 * (4)
 * (5)

Jogojo (talk) 07:24, 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.


 * 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.)


 * 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)
Body Tracks includes several pieces of Mendieta's work that were performed and documented by film and photographs on different occasions and locations. Mendieta first performed Body Tracks in 1974 as a performance piece named Untitled (Blood Sign #2/Body Tracks). This performance was underscored by Afro-cuban drums but was recorded and exists as a silent film. The piece begins with Mendieta's arms dipped in blood which she then drags down a white surface on a wall as she moves from a standing to a kneeing position. She created multiple variants of this piece that year, replacing the blood with red paint in order to preserve the color. Some of these performances are captured as photographs to document and preserve the piece beyond the performance. Mendieta would perform Body Tracks and capture it for the last time in 1982 as Rastros Corporales (Body Tracks) which is 3 parts created with blood and tempura paint on paper. Body Tracks has been compared to Yves Klein's Anthropometries on several occasions in which Klein used blue paint and dragged women over surfaces, using them as "living paintbrushes" to create his work. In contrast, Mendieta uses herself as the "living paintbrush" in her work and refuses to objectify women and women's bodies showcasing feminist elements of her work.4 Mendieta's work also incorporated elements beyond feminism such as culture and art itself. Her use of drums and blood in Body Tracks that make her work seem reminiscent of a Santeria ritual could also be viewed as a moment in which her body and the natural world are transcendent.


 * 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. First citation is from the original Wikipedia page and not one of my sources of research for this gap analysis.
 * 2.
 * 3.
 * 4.
 * 5.
 * 6.

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

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

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 “Chinese 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.

'''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.)'''

Please note: I found sources for Hung Liu's biography but since I'm going to write about how her work shows a feminist point of view, so I'm only going to attach those sources here as a support to the existing paragraph on her Wikipedia page and leave it to people who are going to edit this part. Sources: (1), (2), (3), (4), (5), (6)

Hung Liu’s art work can be read in a feminist way because they challenge the ideas of alienation and exotic others from western society to Asian women, show the oppression which women suffer from patriarchal social structure, and how women can also be viewed as tough as strong. In terms of the experience of alienation due to being an Asian-American immigrant, Liu created work like Resident Alien (1988) (1, 2, 4, 5), Dangling (2005) (1), and exhibition which is also titled Resident Alien (2, 6) to question the meanings related to citizenship, identity, race, belonging to immigrants and emphasizes the “othering” of Asian women in western culture. In Odalisque (1992) (1, 2, 4), the idea of “exotic others” from western society to Asian women is also being depicted while it also extends the thinking about “how rationalizations of self and difference are always impacted by fluid relations between the two.” (4) by seeing this combination of ancient Chinese prostitute in a symbolic posture that is often seen in western painting. Liu also challenges the patriarchal social structure in Chinese culture through painting and installation like Goddess of Love, Goddess of Liberty (1989) (2, 4, 5, 6) and The Ocean is the Dragon’s World (1995) (1). These two pieces both are showing the subordination of women in Chinese history and the questioning of this patriarchal structure. And in Goddess of Love, Goddess of Liberty (1989), the bounded feet of the woman being seen can be understood as “a more universal metaphor for women’s tendency to be bounded in less visible ways.” (4) Liu also presents the powerful side of women in oppose to the usual feminine and weak impression in paintings like Tis the Final Conflict (2007) (1), Daughter of China (2007) (3, 6), and Three Graces (2001) (3). Because to Liu, women are not only being able to be the subjects of being victims and must be a symbol of weakness; instead, she sees the toughness in women through her own paintings (1). In many other Hung Liu’s work that are not mentioned above, the same sets of ideas surrounding feminism are being presented which all support the understanding of her work as feminist art.


 * 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
 * Forth source
 * Fifth source
 * Sixth source

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

Amal Kenawy

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

During my high school years, I did a brief research of the Townhouse Gallery located in Cairo, Egypt. Deciding to revisit, I googled the Townhouse Gallery and came to its Wikipedia page. Once on the page, I scrolled down to the contributed artists and realized that while Warren Neidich, an American male artist, had his own Wikipedia page, Amal Kenawy, a female Egyptian artist, did not. Although she did lose to leukemia early at the age of 38, she did accomplish a lot in her lifetime, which was why I was so shocked that she did not have her own Wikipedia page. Amal Kenawy was well known for her installations, videos and sculptures, and the use of symbols which she used to tackle reserved topics. Kenawy’s arts were challenging the political and social norms set in Egypt, which even got her arrested once. Her work has inspired many and she is even considered a revolutionary artist by many. It is important for women like Amal Kenawy to have their own Wikipedia page because the upcoming generation and we could become inspired by her passion. Amal Kenawy was passionate, brave, and an inspiration to many, and therefore I propose that a Wikipedia page be created recognizing her. Also, I propose that her Wikipedia page be linked to the Townhouse Gallery page because she has contributed an enormous amount, including her art “The Room.” My paragraph below will talk about the contents, including her life, art pieces, and accomplishments, that should be included in Amal Kenawy’s new Wikipedia page.


 * 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.)

Early Life

Amal Kenawy was born in Cairo, Egypt in 1974. She studied film and fashion design in Egypt's Cinema Institute and received an undergraduate degree in painting from the Faculty of Fine Arts in 1999, it is during this time that she started collaborating with her older brother, Abdel Ghany Kenawy. Amal Kenawy considered her brother her mentor and the two together researched about contemporary art visiting various museums and galleries; this influenced works later on. The two worked together to create almost a dozen pieces of arts in installations, videos, and sculptures. During her solo career as an artist, she used symbols in her work, such as animals and inanimate objects, to explore conscious and subconscious expressions of pain, fear, hope, and desire through themes reflecting moments in progression of life and memory. Due to leukemia, Amal Kenawy passed away at the young age of 38. Although short lived, in just fifteen years, she became a popular contemporary artist in the Arab world, focused on videos and performance arts. Amal Kenawy also participated in shows throughout Europe, Africa, the Middle East, and Asia, most prominently the sizeable touring exhibition “Africa Remix: Contemporary Art of a Continent" (2004-07), the Venice Biennale (2005), the Sharjah Biennial (2007), and the Mori Museum of Art’s “Arab Express: The Latest Art from the Arab World” (2012).

Art

Kenawy's Silence of the Sheep was a performance art held at the Townhouse Galllery in 2009. In this performance art, Kenawy walked down the street in an overall and guided crawling men, including her brother Abdel Gahny, and higher laborers. Immediately there was dissent to her work when a man started shouting at her and that she was trying to tarnish the image of Egypt. When the rioting grew larger, police arrived at the scene and Kenawy was arrested with her collaborators. Although the artists and her actors were released within 24 hours, the scheduled second performance was cancelled.

The Room was a video animation presented as part of the "Some Stories" show in Vienna in 2005. The work shows lace-gloved hands slowly sewing ornaments on a beating heart of white fabric. Although the beating heart is present in the video, the body, which contains the heart, is kept invisible. This art portrays her heavily reliance of symbols because during the creation of this piece, she used imagery to represent the remembered, the dreamt, and the imaginary.

Accomplishments

Although she lost the battle to leukemia at the age of 38, she did accomplish a lot during her life. She won the UNESCO Grand Prize at the 7th Cairo International Biennale (1998); the 23rd Alexandria Biennial Golden Prize (2005); the 12th Cairo International Biennale grand prize, for Silence of the Sheep (2006); and The Sharjah International Biennial award (2010).


 * 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

Janehjchang (talk) 22:36, 13 May 2015 (UTC)

Chun Kyung-Ja
When I was in middle school in South Korea, I did some research about Chun Kyung-Ja (Korean:천경자), who is a Korean feminist artist, for my art class assignment. Besides, I had a chance to go her exhibition in Seoul, Korea. Thus, She is pretty familiar artist to me. I had decided to work about her when Wikipedia gap analysis assignment was given in the class. At first, I started to do some research about her in Korean. I found that there is a Korean Wikipedia page for her although there is insufficient information of her life and career. However, I was so surprised that there is no English Wikipedia page for Chun Kyung-Ja at all. Even though Chun Kyung-Ja is one of the famous feminist artists in South Korea, I figured out that there is a lack of information and document in English about Chun. Besides, I realized that many feminist artists from Asia, or Africa relatively don’t receive much attention compared to Western feminist artists. One reason of this problem might be because there are lack of people who can translate using their native languages into English. Since we have learned in class that there is no single feminist woman artist that we define, We should consider many axis crossing gender, race, or sex.
 * Document the gap you found, describes how you identified it, and analyze its impact on knowledge.


 * 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.)

Chun Kyung-Ja was born in 1924 and graduated from Tokyo Women’s Arts College in 1944. The Korean Peninsula, at that time, was under the Japanese occupation between 1910 and 1945. The Japanese occupation era was a time of tribulation for the Korean. People were forced to change their name into Japanese, which is one of the policy to obliterate the Korean nation. Besides, Japan controlled artwork or media as well. Besides, the Korean War from 1950 to 1953 left Korea devastated. Under these unstable domestic situations when Chun was living, sufferings influenced her work and identity. There are only a few surviving work by women that predate the early modern era and Chun is one of them. Chun painted mainly flowers, women and snakes, which are said to represent the artist’s own dream, passion, pain and struggle for life. In particular, she is quite unique in producing colorful pictures. She deserves praise because she has successfully gone through difficult times from the Japanese colonial period to the sixties when people downplayed colorful pictures as Japanese-style ones.

In 1998, Chun Kyung-Ja (1924 - Current), donated to the Seoul Museum of Art a collection of 93 works she had painted over a period of about 60 years from the 1940s to the 1990s so that the public and future generations can access her artworks easily and widely. Chun mostly inspired her artworks from traveling all around the world, which makes her art pieces be more unique. Thus, the largest section of the exhibit is dedicated to her cultural paintings, which were produced from the late 1960s to mid-1990s.

Chun Kyung-Ja Artworks- Flowers,and Woman


 * 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.)


 * "Gallery Mark" ["Chun Kyung Ja"]. Gallery Mark. N.p., n.d. Web. 14 May 2015. .
 * "Visual Delights on Display in Korea’s Hot Art Spots." Visit Korea. N.p., n.d. Web. 14 May 2015. .
 * Dysart, Dinah, and Hannah Fink, eds. Asian Women Artists. N.p.: Craftsman, 1996. Print.
 * "DA-Arts." Korea Digital Archives for the Arts. N.p., n.d. Web. 14 May 2015. <http://www.art500.or.kr/blog/eng/chunkyungja.do>.
 * "Chun Kyung-Ja, Eternal Narcissist." SeMA. N.p., n.d. Web. 14 May 2015. <http://sema.seoul.go.kr/global/exhibitions/exhibitionsView.jsp?iPage=1&iListCont=10&sSrchType=x&sSrchValu=&iTcnt=5&iPageCont=10&iCurrPage=1&pDateGubun=ING&seq=361&sLangCode=02&sStartDate=&sEndDate=&sSrchValuEx=>.
 * Sharma, Rajnesh. "Exhibition: The Soul of Chun Kyung-Ja." 10 Magazine: n. pag. 10 Magazine. Web. 14 May 2015. <http://www.10mag.com/art-the-soul-of-chun-kyung-ja-seoul/>.

Yuyeong #talk# 23:30, 13 May 2015 #UTC#

Hung Liu

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

When I checked Wikipedia for Hung Liu I was surprised to find that she was merely acknowledged as a contemporary artist. In fact, that was the only statement underneath her general overview blurb. The rest of her article proved a bit lengthier, yet made no mention of how her artwork can be viewed through a transnational feminist lens. This shocked me because I remember being introduced to one of her pieces entitled Olympia II earlier in the quarter. Said piece imitates classic courtesan portraits and paintings but reinterprets them in order to comment on concepts like the male gaze, patriarchy, and orientalism. I was further interested in this gap of knowledge after researching and discovering that Liu is one of several artists that had work donated to the Kane Hall Collection at the University of Washington (UDub) in order to demonstrate the diversity on campus. As an artist noted not only in this global feminist art course, but at the UDub as well I thought it particularly poignant to do her justice on her Wikipedia page. Another aspect that is overlooked is her personal history. The top of her page clearly identifies the absence of reliable biographical sources, but more importantly her biography leaves out how she grew up under the Mao regime. This aspect of her history has a large impact on her work which on occasion critiques Maoism and reflects on the history of China. Overall, I propose to update her biography and background and add information about how she is a transnational feminist artist. I think she should also be linked to the feminist art(ist) category on this website. As she is relatively well known, her article should reflect that.


 * 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

PeBoggs (talk) 00:04, 14 May 2015 (UTC)

Roxanne Swentzell

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

Through searching for an artist for our curatorial project, I came across Roxanne Swenztell and her sculptures. Immediately upon reading her Wikipedia page, I noticed that the article stated her mother was an artist as well, but provided no link or any other information. This started my research for further gaps in Roxanne Swentzell's wikipedia page. Through researching, I have been able to find the missing pieces to this Wikipedia page in Swentzell's influences, exhibits, and activism. Though these details may seem small at first glance, understanding these pieces of her life really helps one to better understand her art and philosophy. Without understanding these small but important pieces, the meaning of her art is only half portrayed, and looses the deep connectedness to Swentzell's Pueblo culture and her family as well. The missing facts about her mother also brought to my attention the gender inequality in the information of Swentzell's family. The sentence about her father lists him as philosophy professor from Germany, but when talking about her mother, only lists her as a generalized scholar, activist, and artist. By not seeing her specialized degree and her personal activist philosphy, like her father's was listed, I felt that put her mother in a less influential place. However, her mother was incredibly important in influencing Roxanne Swentzell's art, and by ignoring that influence, the art's meaning is dulled and made less powerful.


 * 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.)

Within the first paragraph of Roxanne's biography section, the details are given about her father's education, but not her mothers. Rina Swentzell "has a doctoral degree in American studies and a master's degree in architecture" It is important to include this information about her mother because of the major influence that her life, teachings, and art had on Roxanne Swentzell's art and philosophy. Roxanne's passion for permaculture came from her mother's Pueblo teachings of nature and peaceful living, and can be attributed to the starting of Roxanne's nonprofit Flowering Tree Permaculture Institute.

Roxanne Swentzell had her own exhibition, "Juggling Worlds," at the Poeh Cultural Center and Museum, which ran from August 20th through November 28th 2003. This exhibit specifically featured Swentzell's art in portraying the duality of her artist identity as both a modern artist and a native Pueblo artist. Because living in balance is one of the Pueblo's essential teachings, it can be found in much of Swentzell's art. Her piece, Making Babies for the Indian Market, however, portrays the discourse in balancing between the modern and native culture. The depicted women with the traditional Pueblo black pot on her head with little babies being birthed out of the pot, seems to take a critical critique on the commoditization of Native American culture. The Pueblo black pot can also be linked to the original artist, Maria Montoya Martinez, who started the black pot art movement with her husband Julian Martinez in the early 1900's. The black matte pottery became a signature of pueblo culture and many more Pueblo potters learned this special way of creating these pots. But, they also became a sought after commodity in the Native markets. Just as the black pots are a symbol of the Pueblo culture balancing between art and commodity, Swentzell's sculpture likens that to the native people themselves, how their culture and people have been exploited.

Roxanne Swentzell is also emerging as a feminist art activist. In September 2012, Swentzell co-founded the Pablita Velarde Museum of Native American Women in the Arts along with the primary founder Margarete Bagshaw. This center aims to address the inequality between male and female painters, giving specifically Native women their own space to display their variant forms of arts and crafts. Like in Swentzell's own home, the center's sculptures are displayed in a "charming and peaceful garden".


 * 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.)


 * Ressler, Susan R. (2003). Women Artists of the American West (illustrated ed.). McFarland. p. 112. ISBN 078641054X.
 * Romero, Mateo. "Juggling Worlds". POEH Cultural Center and Museum. Retrieved 14 May 2015.
 * Hunter, Linda M. "Living in Balance: A Pueblo Woman Discusses Her Balanced Life Philosophy". Mother Earth Living. Ogden Publications, Inc. Retrieved 15 May 2015.
 * "Exhibitions: An Art of Our Own: Women Ceramicists from the Permanent Collection". Brooklyn Museum. Retrieved 15 May 2015.
 * Guerrilla Girls (1998). The Guerrilla Girls Bedside Companion to the History of Western Art. New York: Penguin Books. p. 82.
 * Loubet, Susan. "Innovative Women’s Museum Opens in Santa Fe". Women's Media Center. Retrieved 15 May 2015.

Paigem25 (talk) 00:51, 14 May 2015 (UTC)

Navjot Altaf

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

Despite one of her artworks, (Untitled) Blue Lady, having its own page, Navjot Altaf is not currently represented on Wikipedia. Though her art’s page luckily credits her as the artist of the work, her name is not hyperlinked to her own page, nor does she appear on the “Indian artists” page or even the “Women Indian artists” (which, to be fair, should be merged into just “Indian artists”). For such an accomplished and respected artist, it was initially extremely shocking to me that Navjot would not have her own page, especially since a piece of her art has a fairly substantial one. After all, if a piece of art is notable enough to warrant a Wikipedia page of its own, doesn’t that mean the artist behind it is fully worthy of a lengthy and substantial page herself? Therefore, I kept checking pages I thought she might appear on. Feminist art, Indian artists, Indian women artists, sculptors—nothing came back indicating she had a page of her own.

This is sincerely troubling, as there by no means is little information on Navjot’s work. Her contributions to art span over four decades and she is still going. She not only contributes to art via sculptures and collaborative work, but through seminars and lectures that she does throughout the entire world. She has had a significant impact on feminist art, especially as a woman not coming from a Euro-American background. By excluding Navjot from Wikipedia, users are prevented from learning about an influential women in Indian art whom has had an integral part in aiding the feminist art movement as well as seeing the good she has done for remote villages in project Nalpar (the creation of water pumps in villages). Including Navjot in Wikipedia not only helps close the gap between women on Wikipedia, but also brings to light another very influential women in India’s art culture—something that is surely lacking as most women artists are ignored, and even more so if they are not from a Euro-American culture.


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Navjot Altaf (born 1949) is an Indian multimedia artist known for her skills involving sculpting and video based installation art[1]. Commonly known simply by her first name, Navjot, she has been revered as a feminist artist whom, along with discussing the axes of gender equality in her art, is known for questioning the ideas of identity and shifting how they are presented in a way that includes language, and social divisions and relations[5]. With one of her first group exhibitions in 1973[4], she has since had exhibitions all over the world including India, Germany, the UK, and the US[1] with some of her art showcased at the Tate Modern and Museum of Modern Art[2][1]. Navjot currently resides and works in Mumbai, India[2] and speaks at several lectures and seminars across the globe[3].

Early Life

Born in 1949 in Meerut, Uttar Pradesh, India, Navjot had an interest in painting at a young age. In 1963, her father (who worked in Civil Defense Administration) moved her entire family to Dalhousie, India for a short period of time[1]. With lack of traditional schooling, Navjot took up painting as a hobby[1]. Eventually, Navjot earned her diploma Fine Arts and certificate in Applied Arts from Sir J.J. School of Arts Bombay after studying there from 1967-1972[4]. In 1972, she married an artist known as Altaf and two years later gave birth to their daughter, Sasha[4].

Artwork

Project Nalpar (1990s) Project Nalpar was one of Navjot's many collaborative projects. In several remote villages, Navjot and other artists created sculptures to replace the worn and usually unsanitary water pumps that women and children would often use to fetch water multiple times a day. Project Nalpar also included the creation of “Children’s Temples”, which were placed for the youth of such villages to play and create informal schools. With these creations, Navjot and her peers were able to improve the lives of the women and children in these rural areas by creating visually appealing sculptures that supplied water in an easier and cleaner way for these communities[5].

Untitled (The Blue Lady) (1999-2002)

see (Untitled) Blue Lady


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[1] [2] [3] [4] [5]

EmmaFritzler (talk) 01:09, 14 May 2015 (UTC)

Alice Mizrachi
On Wikipedia there is a huge gap of information on female street artists, and on street art as a whole. For a couple months now, I have been volunteering at the University District Food Bank, and on the outside of the alley entrance, there is a huge mural in progress. It is developing into a narrative on local agriculture, the food system, and the history and cultural implications of economic disparities in Seattle. I started to think about the medium of Street Art in terms of the Wikipedia Gap Analysis project because I found it interesting that something so public and with such high exposure, has little attention in the academic world. For decades, street art was considered thoughtless, ghetto, and a vandalization of the community. As well as a highly male, and thuggish form of expression. In reality, it has allowed artists to voice political opinions, collaborate within their community, and express cultural identity for those whose aesthetic does not fit into the norm of artistic value. Although after the last couple years, Street Art has gained more attention, and is beginning to be defined as an art form, rather than a disturbance to urban architecture. People have come to understand it as a form of artistic provocation, public outreach, and activism. For the most part, the few graffiti/street artists that are recognized on wikipedia are men. Alice Mizrachi is a New York based street artist and teacher who I will be writing my Wikipedia project on. She is considered in New York as one of the lead forces in the street art community, and has been a leader in the initiative to bring back a focus on art education in underprivileged neighborhoods. The fact that she does not have a Wikipedia page seems like an unfortunate oversight, and the gap limits the knowledge of a specific art form due to its presence in urban, lower/lower middle class neighborhoods. The political, expressive, and explicit nature of street art, has lead to its association with vandalism, the marking of territory, and violence. I believe this misinterpretation of its value and purpose operates on regimes of visuality enforcing racism, sexism, and classicism.
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Alice Mizrachi is an Israeli American artist, teacher, social activist, and entrepreneur based in New York City. Working mainly with paint, printmaking, murals, and installations, she depicts figurative characters who reflect her perspective of the social environment. Her site specific street art is known for its positive and vibrant visual response to social issues affecting the neighborhoods she works in.

Early Life/Education:

Alice Mizrachi grew up in Queens, New York, and is the youngest daughter of parents who immigrated from Israel. She attended Parson’s School of Design on a full scholarship, and graduated in 1999. She discovered graffiti when she came into contact with artist, Cern Space, who taught her spray can techniques. Her career as a teacher took off when she got a job with Creative Classrooms Visual Arts Program, an organization providing art classes to children in low-income communities. She was assigned to work at St. Aloysius, a Jesuit K-8 school in Harlem, and ended up working there full time for 10 years. She inspired many of her students to go out into the community, and to create and express what they saw and what they understood. On her website she writes, “I make art to spread feelings of love, community, empowerment, and healing. Through the physical experience of painting, I transform my own fears and anxieties about the world into simple characters who are depicted in relationships to others and their environments.”

Public Work/Exhibitions:

Alice’s work has been exhibited and seen in the streets of New York, Tel Aviv, Paris, and many other parts of the United States. She has work in Washington DC’s Museum of Contemporary Art, The National Women’s Museum., and the Bazel Gallery in Tel Aviv. Some of her public projects are included in the Restoration Truck Project, the Afro Punk Festival, Sing for Hope, and the Chasama Harlem Arts Walk Mural Project. Many of the figures in her works are female archetypal characters, depicting the experience of being a woman in New York. Her main mission through her own work has been to make art accessible to everyone, developing a social consciousness, and creating a sense of nostalgia for the urban world, stating that “love is also said to be a virtue representing all of human kindness, compassion, and affection". For example, in her solo exhibition titled "Windows of Love" in Tel Aviv at Bazel Gallery, she depicts exchanges of love and encourages the viewer to explore the multiple facets of love, while beginning to understand it as a form of recognition.

Entrepreneurship/Social Outreach: She co-founded YOUNITY Art Collective in 2006 with fellow street artist TooFly. It is a female art collective that provides a professional platform for women in the arts through exhibitions, panels, collaborative projects, and workshops. It was created to give a voice and space for women artists to come together, work as one, while maintaining personal identity and expression. Since 2002 she has been involved with Materials for the Arts (MFTA),an organization in New York City that collects and reuses unwanted materials donated by the city to support art programs in public schools. She has also taught workshops and worked with other youth art education programs such as Bric-Arts, and Hi-Arts. Today she continues to work out of her studio in Manhattan, occasionally lecturing at universities, leads workshops, and continues to be an activist in her community.


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1. 2.  3.  4. 5. 6.

Sashaprice (talk) 02:20, 14 May 2015 (UTC)

Hung Liu

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When I checked Wikipedia for Hung Liu I was surprised to find that she was merely acknowledged as a contemporary artist. In fact, that was the only statement underneath her general overview blurb. The rest of her article proved a bit lengthier, yet made no mention of how her artwork can be viewed through a transnational feminist lens. This shocked me because I remember being introduced to one of her pieces entitled Olympia II earlier in the quarter. Said piece imitates classic courtesan portraits and paintings but reinterprets them in order to comment on concepts like the male gaze, patriarchy, and orientalism. I was further interested in this gap of knowledge after researching and discovering that Liu is one of several artists that had work donated to the Kane Hall Collection at the University of Washington (UDub) in order to demonstrate the diversity on campus. As an artist noted not only in this global feminist art course, but at the UDub as well I thought it particularly poignant to do her justice on her Wikipedia page. Another aspect that is overlooked is her personal history. The top of her page clearly identifies the absence of reliable biographical sources, but more importantly her biography leaves out much of her early life in China, instead focusing on her time in America. This overlooked aspect of her history has a large impact on her work which on occasion critiques Maoism and reflects on the history of China. Furthermore, in the absence of her own historical context, it makes it harder to analyze her work through an intersectional lens. Overall, I propose to update her biography and background so that others can see how she is a transnational feminist artist. I think she should also be linked to the feminist art(ist) category on this website. As she is relatively well known, her article should reflect that.


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[Original "Life & Career" Section]: Hung Liu was born in Changchun, People's Republic, China, in 1948, and immigrated to the United States in 1984. She attended Beijing Teachers College in 1975 and studied mural painting as a graduate student at the Central Academy of Fine Arts in Beijing.[1] She is a class of '86 alumna of UC, San Diego. Her paintings and prints often make use of anonymous Chinese historical photographs, particularly those of women, children, refugees, and soldiers as subject matter. Liu's paintings - often large, drippy, and washed with layers of linseed oil - can be seen as critiques of the rigid academicism of the Chinese Socialist Realist style in which she was trained, as well as metaphors for the loss of historical memory. One of the first Chinese artists to study in the U.S., Liu's works represent the ongoing tension between emigration and immigration. Liu has received numerous awards, including two painting fellowships from the National Endowment for the Arts, and her work is represented in the permanent collections of major museums and private collections throughout the United States and Asia. She is currently the Professor Emerita of Painting at Mills College in Oakland, California.

[Edited Version]:

Early Life & Education: Hung Liu was born in Changchun, China on February 17, 1948 (5). In her earliest years, she, and her family, were subjects to hard times due to political tensions between warring Nationalist and Communist parties fighting for control of the government. Upon fleeing her birthplace, her father, Xia Peng, was arrested for his position in the Nationalist Army (1, 5). It wasn’t until after the Communist victory that she returned to Changchun where she remained until her preteen years. At the age of eleven and accompanied by her aunt, Liu left Changchun for Beijing where she stayed until the 1980s (1). During the intervening years Mao Zedong, chairman of the Chinese Communist Party (CCP), enacted the Great Leap Forward, which resulted in widespread famine in China. Liu survived the famine but was unable to escape the Cultural Revolution that followed. As a result, in her late teens she underwent reeducation in the countryside where she was forced to perform manual labor. It wasn’t until 1972 that she entered Beijing’s Teachers College as an art student (2). From there, she went on to attend the Central Academy of Fine Arts in Beijing where she studied mural painting. However, despite her love of art she felt restricted by the limits placed upon her in China. At the time, artists were only permitted to create politicized and Communist propaganda pieces. Seeking artistic freedom, she applied to schools in the United States. In 1981 she was officially accepted to the University of San Diego, California. Despite her acceptance she didn’t immigrate to the U.S. until 1984 due to the lengthy process of obtaining permission to leave China (2).

Career & Work: Upon moving to America, Hung Liu discovered the artistic freedom she felt was lacking in China. However, she found herself floundering in Western society. To combat her displacement and reconcile her past she drew upon her transnational background to inspire her art. One such example is her The Face of China as Seen by Photographers and Travelers, 1860-1912 collection that displays and critiques Westerners’ perception of Chinese people (3). The theme of “the gaze” can also be seen in other earlier work of hers. Her pieces Olympia and Olympia II, displaying Chinese prostitutes, challenge the idea of the male gaze as well as the orientalist views displayed in the West (4).

1. 2. 3. 4. 5.
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Peb1990 (talk) 02:45, 14 May 2015 (UTC)

Berni Searle

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In class we learned quite a bit about Zanele Muholi, the South African photographer. I was so interested in, and passionate about her work that I decided to do more research on her. I looked at her Wikipedia page and noticed that, even though there were gaps, she had more extensive information on her page than most other female artists did. While reading about Muholi, I came across a talk at Brandeis University that was about three South African, feminist artists. That’s when I stumbled upon Berni Searle, and after looking at her Wikipedia page, I noticed how extremely bare it was. The page included two sentences of who she was, the institution she studied at, a single exhibit she was a part of, and a short list of awards she has received. Her bibliography was completely empty, and there was no detailed mention of any one of her pieces or why they were important. This was astounding to me. Searle was being talked about alongside Zanele Muholi, yet only Muholi had an adequate Wikipedia page. If I were unaware of the substantial gaps within Wikipedia, I would have assumed Searle was less important, or that she was not as good of an artist as Muholi. However, after researching both, it is clear how important, talented, and intelligent the both of them are. I realized that Wikipedia, and the information available on Wikipedia, shapes the knowledge that people have. Wikipedia is an accessible, clear, and convenient tool that is used to gain knowledge. It is important that we recognize the gaps on Wikipedia so that we understand there is so much more knowledge and information out there to be consumed. Art, and many other practices, are not just done by Western, heterosexual, white men, and it is crucial that we recognize this disparity on Wikipedia.


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Searle is widely known for her attention-grabbing statement on race in her Colour Me series from 1998 that she presented at the 7th International Cairo Biennale (1). The series originally contained twelve 42 x 50 cm block-mounted photographs (4) that were taken by Jean Brundit. Featured in these photos is Searle’s naked body and face covered in paprika, turmeric, or clove (2), in which she fittingly entitled Red, Yellow, and Brown. This piece was Searle’s mocking reference to the Apartheid that took place in South Africa from 1948 to 1994 in which people where divided into in to three racial groups: “black,” “white,” and “coloured.” Searle, being a part of the “coloured” group, wanted to criticize that term that she refers to as “contentious.” The work is said to be a “visual morphing” (3) of the perception that bodies are “coloured,” and that bodies can be categorized and segregated by the perceived color of their skin. The spices covering the artist’s own body is seen by many as a way to disguise the color of her skin, and therefore an aspect of her identity, while Searle’s nakedness is seen as a way to expose a different aspect of her identity (5). In a specific photograph of the series entitled Looking Back, Searle’s body, more evidently her mouth is smothered in spices. This piece has been interpreted as a representation of the oppression of women and their lack of a voice within society. Searle won the UNESCO award for this series in 1998.


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Hallemcc (talk) 02:52, 14 May 2015 (UTC)

Leonor Fini

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YOUR ANSWER HERE

Originally, I was curious to see what Wikipedia had to say about the painter, Dorothea Tanning. I was especially curious to see how her relationship to Max Ernst was portrayed. This led to the discovery of the Surrealism page, which does make mention of Tanning a couple of times, but does not make much mention of female participation overall. I researched what other female artists may have been overlooked, and in doing so discovered the Wikipedia page “Women Surrealists.” I found it interesting, that upon googling the phrase “Male Surrealists,” the Wikipedia page for Surrealism popped up with no added gendered terms. It begged the question, why are these female artists separated from the main narrative of Surrealism? By placing women in a separate category are we treating them as an exception to surrealist rule? I felt that the list of female surrealists should be added into the Surrealism page, and be given the same degree of context as the male figures of the movement. The narrative of the Surrealist page would require some heavy alteration to accommodate the female surrealists of the time, so I decided to investigate instead an artist named Leonor Fini, who was involved with the Surrealist movement, but actually chose to reject membership in response to the misogyny of the leader, Breton. Therefore, I am adding more information on her page about her involvement with the movement, and would like to see more said about her on the Surrealist page itself.


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EDITED CONTENT

Fini had no formal artistic training. Upon recovering from a visual impairment that required she wear bandages over her eyes during childhood, Fini made art her passion (1). She consumed whatever information she could about the subject, and had her debut in Trieste at the age of seventeen (2). In 1936, Fini moved to Paris where she befriended Max Ernst, as well as other members of the Surrealist movement (3). Her first major exhibition was in 1939 in New York at Julian Levy’s Gallery. Fini was considered part of a pre-war generation of Parisian artists, and outlived most of her artist peers. While she often associated with the Surrealist movement, she did not become a member, due to Breton's well known viewpoints toward women (4). Nonetheless, she continued to exhibit with other Surrealists, as their works shared similar theoretical inspiration, including Freud (5). In 1950 a play was written and presented in her namesake, “The Dream of Leonor” written by Benjamin Britton. This is a testament to her continual involvement with theater. She had an exhibition at the Kaplan gallery in 1960 and another at the Hanover Gallery in 1967. In the summer of 1986 there was a retrospective in the Musee du Luxembourg in Paris that featured many of her different works done in different mediums. It was an overall tribute to the many artistic and creative avenues that her career took throughout her lifetime. In the show there were 100+ watercolors and drawings, around 80 theatre/costume designs, and about 70 paintings, 5 masks, etc. Many of her paintings featured women in morbid positions of power; an example of this is the painting La Bout du Mond where a female figure wades in water up to her breasts with human and animal skulls surrounding her. In the spring of 1987 she had an exhibition at London’s Editions Graphique’s gallery.[2] Fini was also featured in an exhibition entitled “Women, Surrealism, and Self-representation” at the San Francisco Modern Museum of Art in 1999.[3]

YOUR ANSWER HERE


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(1) http://www.britannica.com/EBchecked/topic/207328/Leonor-Fini (2) http://www.leninimports.com/leonor_fini1.html (3) http://www.independent.co.uk/news/people/obituaryleonor-fini-1325670.html (4) http://www.telegraph.co.uk/culture/art/art-features/6467290/Leonor-Fini-surreal-thing.html\ (5) http://www.blouinartinfo.com/artists/leonor-fini-3739

SAVEMC (talk) 04:01, 14 May 2015 (UTC)

Helen Torr

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

On the Wikipedia encyclopedia I came across American Modernism, the male artist Arthur Dove, then his wife’s Wikipedia page (Helen Torr, also known as “Reds”). Though both were artists, in comparison to Dove’s lengthy Wikipedia description Torr’s was significantly sparse, which motivated me to find out more about her. After searching through the UW libraries, all that was available consisted of a thin 19-page paperback and one-page article on her. This lack of knowledge about Torr degrades her as an artist by marking her presence in the Modernist movement simply from her marriage with Dove. This gap reinforces the interlocking hierarchies of gender and power by neglecting to establish Torr as an artist through sites such as Wikipedia that people have come to see as a basis of “common” knowledge. Since she is not a part of this American Modernist canon because of her role as not only a woman, but also a wife, a huge portion of her life is left out of this history and strengthens this norm of underestimating the true creative nature of the woman artist whose spouse is also an artist. The way she is presented to the public can falsely allude to the notion that all her inspiration drew from the work of her husband. Although Torr is mentioned as a Modernist painter, none of her works are mentioned on the Wikipedia page, and this poses a danger of her artwork not being further critiqued and a basis of interesting discussion. I am hoping to fill some of these gaps to establish Torr as an artist who so happened to be a wife, not a wife who so happened to be an artist.


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Early Life

Helen Torr (1886-1967), nicknamed “Reds,” was a Modernist painter born in Roxbury, Philadelphia where she developed her education in art at both Drexel University (1904) and the Pennsylvania Academy of the Fine Arts (1906) (1, 3).

Marriage

She married Clive Weed in 1913, until 1920 when her and fellow American Modernist artist Arthur Dove began living with each other and eventually married in April 1932 (3). The details of her divorce and remarriage are disputed, however. References claim that Torr married Dove after her divorce with Weed and the death of Dove’s wife (3), however it there are also claims that in 1921 Dove left his wife and son to marry her (5).

Paintings

Much of Torr’s paintings involve naturalistic elements or themes from her exposure to living in rural areas, and her work is often described as incorporating abstract aspects of nature and featuring keen patterns in richly prominent colors (3, 1). Her Autumn Leaves n.d.--Mitsujay (talk) 05:02, 14 May 2015 (UTC)--Mitsujay (talk) 05:02, 14 May 2015 (UTC) painting is described as having some sense of order to her use of abstraction through nature-inspired art by meticulously incorporating patterns (2). She is compared to her friend, artist Georgia O’Keeffe, in her portrayal of foliage and in nature-related paintings (3).

Career and After Death

Torr’s work was exhibited publically twice in her lifetime, one at the Opportunity Gallery in 1927 and Alfred Stieglitz’s An American Place gallery in 1933 (4, 3). After Dove’s heart attack, Torr quit painting and tended to him until his passing in 1946 (5, 3). In recent decades, there had been better reception of her paintings, evidence being that she had her first one-person exhibit (1, 3). After her death, the Heckscher Museum and Graham Gallery was the first to bring sole recognition to Torr aside from her husband’s fame in 1972, and most recently one of her paintings Crimson and Green Leaves is currently displayed at The Metropolitan Museum of Art.


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Past: A History of Eminent Ladies and Everyday Lives. History, 2012. 192. Print. “The Leaf.” Paintbox Leaves: Autumnal Inspiration from Cole to Wyeth. Hudson River Museum, 2010. 94. Print. New York: Graham Gallery, 1980. Print. 67. Print. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/dove/hd_dove.htm (June 2007)
 * (1) A. Naylor, Natalie. “Modernists and Abstract Expressionists.” Women in Long Island’s
 * (2) F. Bland, Bartholomew, Laura L. Vookles, William H. Gerdts, and Michael Botwinick.
 * (3) Leff, Sandra. “Introduction.” Helen Torr, 1886-1967: In Private Life, Mrs. Authur Dove.
 * (4) “Modernism in Retrospect: Philip Guston and Helen Torr.” American Artist 1 Aug. 2003:
 * (5) Murphy, Jessica. "Arthur Dove (1880–1946)". In Heilbrunn Timeline of Art History.

Mitsujay (talk) 05:02, 14 May 2015 (UTC)

Lists of Composers

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As a student that intends to graduate with a degree in music, my focus tends to learn towards the musical performance part of feminism rather than visual arts. After hearing a lecture from a teacher about how female composers of Western Art Music (Better known to the masses as “classical music”) are often overlooked, I attempted to find a collection of composers and see if there was a difference between males and females. I found one gap in the Wikipedia sphere which appears under the topic "Lists of Composers". Similarly to the "American Novelists” debate, I noticed that in this article, there was a subset called “Gender” that has links to lists of “Lists of female composers” and “Lists female composers by birth year”. There’s no link to any list of male only composers, though there is a co-ed list that’s very dense. Most female composers from history got their start because a male family member of theirs was a musician. This does not excuse the ideological differences where females are singled out and give their own link on this page while men are not. In the pursuit of knowledge, having gender equality is important because on one hand, it shows those who are researching that male’s work is not more important that female’s work. If a young girl is researching composers she may become disheartened at the lack of equality between male and female composers. Three of the most widely-known composers, Mozart, Bach and Beethoven, were indeed all male and it’s not their fault they were born into a society that oppressed women. It is important however, that female composers get just as much recognition as male composers.


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I propose that the article “Lists of Composers” which has a link to a list to “List of female composers” but not a link to “List of male composers” be updated  so that both male and female are equally represented in Wikipedia. It is known that especially within musical contexts, perceptions based on gender are still apparent in both teachers and students (1). Having Wikipedia reinforce those perceptions will cause no end to them. Female composers already have a tougher time than their male counterparts because there isn’t as many, “14% of the PRS for Music Foundation's (the Performing Rights Society of composers, songwriters and music publishers) members are female” (2). Music composition is a male dominated field and sexism, just as in other parts of society is still relevant/ Music and feminism already intersect because often women composers are overlooked completely or female composers are daughters or siblings or wives to famous male composers, like Clara Schumann, whose father Robert was more famous (3). In order to try and combat sexism, many performing orchestras have introduced blind auditions, where players are evaluated based on skill alone, which saw a 25% increase in female musicians (4). Though steps are being taken to stop sexism, female’s are still the minority in music. In order to be cohesive with other similar gaps on Wikipedia, like when “American Female Novelists” were distinguished from “American Novelists” (5) it’s important that the gap regarding female musicians be filled in.


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 * 1. Colley, Ann, Adrian North, and David J. Hargreaves. "Gender Bias in the Evaluation of New Age Music." Scandinavian Journal of Psychology 44.2 (2003): 125-31. Print.
 * 2. Andrew, Kerry. "Why There Are so Few Female Composers | Kerry Andrew ..." The Guardian: theguardian.com, 8 Feb. 2012. Web. 15 May 2015.
 * 3. "Women Composers Deserve Much Better | Letters | Music | The ..." The Guardian: theguardian.com, 5 Mar. 2015. Web. 15 May 2015.
 * 4. Duchen, Jessica. "Why the Male Domination of Classical Music Might Be Coming to ..." The Guardian: theguardian.com, 28 Feb. 2015. Web. 15 May 2015.
 * 5. Boboltz, Sara. "Editors Are Trying To Fix Wikipedia's Gender And Racial Bias Problem." The Huffington Post. TheHuffingtonPost.com, 15 Apr. 2015. Web. 15 May 2015.

Shannonhorst (talk) 06:14, 14 May 2015 (UTC)

Performance Art

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As I looked through Wikipedia pages of various artists and topics, something that really stood out to me was the 1960’s section of the Performance Art page. Though it was good to see that some of the feminist artists who were significant contributors to this movement were mentioned, there was still a clear lack of information and credit to essential performance art pieces by artists such as Yoko Ono and Yayoi Kusama. What I also found interesting was that in a very small caption under the photo of Carolee Schneemann performing her piece Interior Scroll, there is acknowledgment of some of the women who originally brought about this type of art, yet little detail pertaining to the significance of their work. In this section, there is only a small and very limited paragraph that briefly introduces some of these feminist artists, while the rest of the section goes on to describe other ways performance art evolved in the 1960’s largely through the work of White-Western men. In addition, although there was some mention of non-White artists, there is still a lack of global representation. Performance art was not only significant in a European context so it is important to include other global works, such as of African American’s, because performance art can take on different meanings/ purposes for people of different racial backgrounds. I propose that in the 1960’s section of the performance art page, we add on to this very limited paragraph by opening up the conversation and including significant details about other performance art pieces by important female artists such as Ono and Kusama, who were both significant contributors to the performance art movement. Also, I propose increasing the global representation and including a wider variety of performance art.


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In addition to Wall Piece for Orchestra (1962), one of Yoko Ono’s most notable performance art pieces that is still widely renowned today and has been reenacted by other intermedia artists is called Cut Piece, where she would sit down on a stage, place a pair of scissors in front of her, and remain silent while audience members would come up one by one and cut off pieces of her clothing (4). She did this performance multiple times in different locations but the first time she performed it, she was in Japan in 1964. This piece of art was an example of performativity and represented the ways that women were victimized and objectified as Ono was stripped of her clothes. This piece was even associated with rape and violence (6).

Yayoi Kusama was another Japanese artist associated with performance art. Before she staged the naked flag-burning on the Brooklyn Bridge in (1968), she did Walking Piece in 1966, an example of happening art borrowed from Allan Kuprow. In this piece, she walked around Manhattan, New York dressed in a traditional Japanese outfit called the kimono while holding an umbrella. In doing this, she was able to “emphasize the ‘otherness’ of her identity as a Japanese woman”, as she raised the eyebrows of those around her, intentionally attracting attention to herself (5). Soon after, Kusama started her body-painting performances where she expressed herself through her obsession with dots by painting them onto naked bodies. An example is in 1969, during her unauthorized Grand Orgy to Awaken the Dead performance at the Museum of Modern Art (1).

Also happening during the 1960’s was the Black Arts Movement. It started off largely in 1965 when Imamu Amiri Baraka founded the Black Arts Reparatory theatre in Harlem (2). During this time African American performance artists, visual artists, and writers used performance art as a gateway to promote their culture and political struggles. They wanted to re-affirm the ideas of “black power” and “black beauty” and used these concepts as their inspiration in their art. Often, this art took the form of music, performance, theatre, and literature (3).


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1. Cole, Rachel. "Yayoi Kusama | Biography - Japanese Artist." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 13 May 2015. <http://www.britannica.com/EBchecked/topic/1884912/Yayoi-Kusama>.

2. Foster, Hannah. "The Black Arts Movement (1965-1975) | The Black Past: Remembered and Reclaimed." The Black Arts Movement (1965-1975) | The Black Past: Remembered and Reclaimed. N.p., n.d. Web. 13 May 2015. <http://www.blackpast.org/aah/black-arts-movement-1965-1975>.

3. Powell, Richard. "African American Art." African American Art. N.p., n.d. Web. 13 May 2015. <http://www.aawc.com/submission_art.html>.

4. Whitney Frank, “Instructions for Destruction: Yoko Ono's Performance Art, ” intersections 10, no. 1 (2009): 571-607.

5. Yoshimoto, Midori. Into Performance Japanese Women Artists in New York. New Brunswick, N.J.: Rutgers University Press, 2005. (Chapter Two: “Performing the Self: Yayoi Kusama and Her Ever-Expanding Universe”)

6. Yoshimoto, Midori. Into Performance Japanese Women Artists in New York. New Brunswick, N.J.: Rutgers University Press, 2005. (Chapter Three: “The Message Is the Medium: The Communication Art of Yoko Ono”)

Kelsey uw (talk) 06:37, 14 May 2015 (UTC)

subRosa

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

To begin with, the page on subRosa is not up to Wikipedia standards: the page is filled with direct quotes, and little to no paraphrasing. There is little information offered about the organization, instead, the page merely quotes their manifestation. Finally, the page lacks organization, making it hard to follow. There is so much more that can be said about the organization, including how they are feminist and the actions they are taking to accomplish their goals. I've also noticed that the link to their website is incorrect. (This is the correct link to their website: subRosa's page) The gaps in this article makes what should be common knowledge inaccessible. Their manifesto uses complicated academic language that not every member of society is accustomed to, or may not have even seen before, and because the wiki page doesn’t paraphrase this manifesto, there is no source that can guide and scaffold the reader. This limits the audience that could learn from such an article. Even as a college student, I struggled to understand their mission; this means that any person that doesn’t have access to higher education will be unable to learn about the organization. This includes current students in elementary and middle school, and the many manual laborers that dropped out of school to start making an income, whether male/female, white/colored, US born or immigrant. Below I've greatly revised the page; it offers more information about the organization, organizes the page to make it easy to follow, and simplifies the language so that anybody can enjoy and learn about subRosa.


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discard original

subRosa is a cyberfeminist organization led by artists Faith Wilding and Hyla Willis.

subRosa Manifesto:

"subRosa's name honors feminist pioneers in art, activism, labor, science, and politics: Rosa Bonheur, Rosa Luxemburg, Rosie the Riveter, Rosa Parks and Rosie Franklin.

subRosa is a reproducible cyberfeminist cell of cultural researchers committed to combining art, activism, and politics to explore and critique the effects of the intersections of the new information and biotechnologies on women's bodies, lives, and work.

subRosa produces artworks, activist campaigns and projects, publications, media interventions, and public forums that make visible the effects of the interconnections of technology, gender, and difference; feminism and global capital; new bio and medical technologies and women's health; and the changed conditions of labor and reproduction for women in the integrated circuit.

subRosa practices a situational embodied feminist politics nourished by conviviality, self-determination, and the desire for affirmative alliances and coalitions.

Let a million subRosas bloom!"

"subRosa is a mutable (cyber)feminist art collective combining art, social activism and politics to explore and critique the intersections of information and bio technologies on women’s bodies, lives and work. Since its founding in 1998, subRosa has developed situated, trans-disciplinary, performative, and discursive practices that create open-ended environments where participants engage with objects, texts, digital technologies, and critical learning experiences interacting with each other and the artists." Next to the same thing that happen before.

subRosa works of art can be found at venues around the world such as: ArtUp, Bootlab, Mass Moca and Amarika and many others found on subRosa's page.

Proposed content

Overview

subRosa (1998 to present) is an organization led by Faith Wilding and Hyla Willis that uses cyberfeminism (the interaction between internet and gender) as a tool to challenge power structures as well as make the female experience more visible—both within the context of technology.

Contents

•	Namesake

•	Artworks

•	Disputes

Namesake:

The word sub rosa literally translates to under the rose in Latin, and means secrecy in English. The organization plays on this term, because they want to be forthright about the ways new media affect women. The organization name pays homage to several feminist pioneers in several fields, such as Rosa Bonheur (art), Rosa Luxemburg (politics), Rosie the Riveter (labor), Rosa Parks (activism), and Rosie Franklin (science).

Artworks and Critiques:

subRosa is an organization comprised of artists, writers and activists; they produce several projects, such as: publications, forums, campaigns, and artworks. Their artworks range from performance pieces to installations. A list of their projects are as follows:

•	Can You See Us Now? (Ya Nos Pueden ver?) is an installation piece that highlighted the interaction between women and the media, labor, and materials both in Massachusetts and Mexico, though the installation was only shown in MassMOCA. This project focused on everyday life, by using maps to mark important sites that affected women’s bodies based on the environment that surrounded them (e.g. transportation and distance between home and work).

•	Cell Track: Mapping the Appropriation of Life Materials is an exhibit that brings to light the profit that biotech companies make off of women. This exhibit focuses on embryos and fetuses that can get privatized by such companies. subRosa also created an interactive website counterpart to the exhibit.

•	Expo Emmagenic is a prank website that focuses on the achievements of male dominant reproductive technology, even though it boasts a “woman-centered” conference.

•	SmartMom: Technology that Grows on You is another website created by subRosa. In this project, their website advertises a fake product, “smart” technology that can attach to maternity wear, in order to “restrain the problematic pregnant woman”. With this project, they critique body surveillance.

•	Yes Species is a performance and texted cocreated by subRosa and artist James Tsang. These pieces analyze identity and the dissociation of bodies that don’t fit in with the identities given to them.

Disputes:

There has been some controversy around cyber feminism; mainly, who is a cyber-feminist and can one still be a cyber-feminist without being familiar with cyber space?


 * 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.)


 * Flanagan, Mary, and Suyin Looui. "Rethinking the F Word: A Review of Activist Art on the Internet." NWSA Journal 19.1 (2007): 181-200. JSTOR [JSTOR . Web. 13 May 2015.]
 * Flanagan, Mary, Jennifer González, The Guerilla Girls, Margo Machida, Marsha Meskimmon, Martha Rosler, Gayatri Chakravorty Spivak, SubRosa, and Amelia Jones. "Feminist Activist Art, a Roundtable Forum, August 24-31, 2005." NWSA Journal 19.1 (2007): 1-22. JSTOR [JSTOR . Web. 13 May 2015.]
 * Gillis, Stacey. "Reviewed Work: Cyberfeminism and Artificial Life by Sarah Kember." NWSA Journal 17.3 (2005): 209-10. JSTOR [JSTOR . Web. 13 May 2015.]
 * Keifer-Boyd, Karen, Ph.D. "Arts-based Research as Social Justice Activism: Insight, Inquiry, Imagination, Embodiment, Relationality." International Review of Qualitative Research 4.1 (2011): 3-19. JSTOR [JSTOR . Web. 13 May 2015.]
 * Richards, Rebecca S. ""I Could Have Told You That Wouldn't Work": Cyberfeminist Pedagogy in Action." Feminist Teacher 22.1 (2011): 5-22. JSTOR [JSTOR . Web. 13 May 2015.]

Dre94 (talk) 07:48, 14 May 2015 (UTC)

Xing Danwen

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

I quickly found that Wikipedia does not have an article on Xing Danwen published on their site but her name is found listed in other articles here in there. For the Artist Profile wikipedia page, which provides information on the popular, internationally distributed contemporary art magazine, Danwen's name is in the list of Notable Interviewees. Another listing of Danwen can be found under the Residents section of Bejing East Village's wikipedia page, the community of avant garde artists that Danwen was apart of in China. She's also briefly mentioned in the article on Photography in China where the editor groups Danwen with artists Xu Wen and Zhang Yue, describing their works to be examples of "the discursive autonomy contemporary Chinese art is increasingly afforded". The editor continues to subjectively critique the artists of contemporary photography in China, the era that Danwen is prominent in (1993-present), as creating work that is not "explicitly political as that by very similar conceptual artists in the west" but uses "the same repertoire of 'shock'; nakedness, swear words, dead babies and elephant dung, among other items that have now become tired clichés." First of all, the diction of this particular article is condescending and offensive, violating the objective requirement that Wikipedia holds as its standard for published articles. Whoever edited the Photography of China page seems to be eurocentric and consequently shows bias to western art and culture. Danwen's work has had a huge impact on not only contemporary photography but also visual arts and mixed media in China and about China. Her artwork is an extension of the socio-cultural movement that resulted from China's Cultural Revolution, topics focused on dislocation and alienation affected by globalization, the blurred distinction between fantasy and reality, spacial divides, urbanization and capitalism. Her work has been viewed all across the world in major museums and publications but if you were to search Wikipedia for Xing Danwen, an article on Photography in China provides the only substantial representation of her as an artist - reducing her work to one subjective, overly generalized sentence. I propose an article be created about Xing Danwen and this page be linked to her mention in the Photography in China article as well as editing the information in the 1993-Present section in said article. Below is the overview and framework for the new article proposed for Danwen, as well as the revision proposed for the 1993-Present section in Wikipedia's existing article on Photography in China.


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Overview

Xing Danwen is a Chinese photographer and mixed media artist from Xian, China. Her experience growing up as a young child during the Cultural Revolution greatly impacted and influenced her career in art. Her background in art started during her teenage years, training in classical western painting at Xian Academy of Fine Arts school. During this time in her artist development, information and culture was very confined within conventional painting and sculpture and heavily influenced by western principles. At age 17, Danwen was exposed to contemporary photography for the first time, inspiring her to teach herself photography. In the early 1990s she was one of the many avant garde artists in China to form a new artist community called the Beijing East Village located on the east side of Bejing. Since then she's continued to pursue postmodern topics of urban development, dislocation, and alienation of Chinese society after the Cultural Revolution. Early Life

Education

Photography and Mixed Media Some of Danwen's most renowned pieces of work are her DUPLICATION series, disCONNEXION series, and Urban Fiction series.

Exhibitions

[Article from Photography in China] Many artist-photographers have had success, especially in the west. Although their work has not been as explicitly political as that by very similar conceptual artists in the west, it has used the same repertoire of 'shock'; nakedness, swear words, dead babies and elephant dung, among other items that have now become tired clichés. Some photographers also work in 'Chinese kitsch' - sometimes called "Mao goes Pop" — a collage style very similar to western pop art of the 1960s. Presently, we are reminded of the discursive autonomy contemporary Chinese art is increasingly afforded, seen in works by artists such as Xu Zhen, Xing Danwen, and Zhang Yue - artists who can not be easily summarized under the umbrella of a single artistic praxis such as "kitsch" or "pop" or "shock."

[Revised edit] Chinese contemporary, avant garde photography began in the late 1980s and early 1990s. The new generation of photography artist had been strongly influenced my the socio-cultural effects of the Cultural Revolution during the 1940s. Photography in China was limited to official media and private family photos and strictly so. Due to the birth of the New Wave art movement, China’s economic development, and the rush of Western art influences from the country opening up its gates, the revolution of China photography began in the later half of the 1980s. Artists like Xing Danwen were the pioneers to this new style of photography, photographing new mediums and subjects never explored before. She created work that reflected the social, economic, and cultural changes happening in China during this period through newly developed styles of conceptual photography and experimental photography. Simultaneously and hand-in-hand, performative art and art installations in China was becoming increasing popular along with the revolution of photography. In the 1990s many artists were making bold statement by spontaneously performing nude in public (see He Chengyao). Xing Danwen was there to document this cultural rebellion and in turn capture art within her own medium of photography. These photos were later on published by Danwen in a book call Wo Men: a personal diary of Chinese avant-garde art in the 1990s.


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Louisam2 (talk) 07:53, 14 May 2015 (UTC)

Arahmaiani

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

Arahmaiani’s Wikipedia page is lacking many crucial information about the artist and the artwork in English, and nonexistent in Indonesian. Her page only contains of five paragraphs about the artist without mentioning of her artwork. In addition to this, I found many gaps on Arahmaiani’s page. Firstly, her background as an artist who studied itself is not mentioned on the page other than her name, nationality, and residency. Her past education is missing two names of the School that she was attended, which are Paddington Art School (1985-1986) in Sydney, Australia, and Academie voor Beeldende Kurst, in Enschede, Netherland. Secondly, though on her page it is mentioned that she is known as a perfomance artist, all of her artworks, exhibitions, and performances are not mentioned on the page, only one of the exhibit she held in Indonesia is listed. Arahmaiani’s performances are internationally recognized and her artworks are exhibited in solo and group shows internationally and nationally since the early 1980s, yet only one is listed on her page. Also, as listed in the page that Arahmaiani’s works are often focuses on the oppression that goes on in Indonesia with more attention to women, Wikipedia does not mention her as an Activist and a Feminist who contributes most of her work to raise awareness about the issues of inter-religion, inter-cultural, and past and contemporary heritage. She should also be considered as part of Wikipedia’s list of Feminist Artists and a part of Feminist art movement in Indonesia.


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[ORIGINAL WIKIPEDIA VERSION] Arahmaiani (Arahmayani Feisal, born May 21, 1961) is an Indonesian artist born in Bandung and based in Yogyakarta, Java, Indonesia. She studied at Bandung Institute of Technology, then in Sydney, Australia and Enschede, Holland. Though best known as a performance artist, she also employs painting, drawing, sculpture, video, poetry, dance, and installation. The thematic material of her work is diverse, but it often focuses on the oppression of women's bodies by men, religion in modern society, Western commercial imperialism, and global industrialization. She exhibited in the Indonesian pavilion at the Venice Biennale in 2003.

[MY EDITED VERSION]


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Saids13 (talk) 07:58, 14 May 2015 (UTC)

Sigalit Landau

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

I decided to do my gap analysis on the Israeli artist, Sigalit Landua. When I searched her on Wikipedia, I noticed that she does have her own page, but it is very, very lacking in information. Compared to many famous male artists, who typically have about 10 contents in their Wikipedia pages, with many sub-contents within them, Sigalit only has very short paragraphs for the 6 contents provided in her page. These include: (1) biography, (2) artistic career, (3) awards, (4) exhibits, (5) gallery, and (6) see also. One major thing I noticed is that her biography is only four sentences long; being someone who is 46 years old, she has had a lot more than four sentences happen to her in her life, which is why I decided to rewrite her biography. One thing I immediately noticed when reading her Wikipedia page was that there is no mention of her art having a political stand. In many of the further research I have done about this artist, I have examined and read that her artworks go into many social, humanitarian, and ecological issues. Although this is a very big part of Sigalit’s artworks, there is no mention of it in her Wikipedia page, a very big gap. It does although slightly mention her interest in bodies and her use with them, which comes from her being a dancer. Even though it mentions this, it doesn’t go very in depth of her interest in bodies. One reason I can think of for why Sigalit’s Wikipedia page is so lacking in information and elaborateness is that she is an international artist, therefor, not as publicized in the Western art culture. On top of that, she is a female artist, which quite automatically puts her on the bottom of the popularity list.

Original: Sigalit Landau was born and raised in Jerusalem[1] and spent several years in the US and the UK. In 1993, she spent a year as an exchange student at Cooper Union School of Art and Design in New York. In 1994, she graduated from Bezalel Academy of Art and Design. Today she lives and works in Tel-Aviv.
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Edited: Sigalit Landau was born and raised in Jerusalem. She studied at the Bezalel Academy of Art and Design in Jerusulem (1990-1995), and participated in a one-semester exchange program at the Cooper Union School of Art and Design, New York (3). Between the years 1996 and 2003, she referred to herself as a “wandering Jew” because she didn’t have an explicit home; she says, “I didn’t even have a base and I didn’t make a living from art. Everywhere I was invited to exhibit, that is where I lived”(1). She also lived in London for several years, but is now settled in Tel Aviv, Israel. From a young age, Sigalit found a beauty in art, and wanted to pursue it. She studied dance during her high school years at the Jerusalem Academy of Music and Dance. Once she finished her service in the army, instead of travelling to India or South America like most Israelis do once they complete their service, she was eager to learn and went straight to Bezalel Academy of Art and Design (1). Because of the global appreciation for her work, Sigalit was able to travel to different venues in places like Paris, Budapest, Moscow, Berlin, Madrid, Rotterdam, Venice, Tokyo, Stockholm, Sydney, New York, Toronto, and more (1). Her work has includes various forms of media and covers many different issues; these vary between social, humanitarian, and ecological issues. In her work, she covers topics like homelessness, banishment, the relationship between victim and victimizer, and the relationship between decay and growth (5). She also uses many references to the bible in many of her art works, she says that “when you grow up in Jerusalem, the Bible is a big part of how you see everything, even if you’re secular” (1).For example, in her work DeadSee, She uses the watermelon as a reference to the new Israeli identity. The watermelon has no biblical meaning, but has become a very widespread crop around the Dead Sea, and is very popular in Israel (4). One interpretation of the piece is that she uses the watermelon to represent the link between the past and present of Israel and its identity (4). The majority of medium used in Sigalit’s work is the human body (often her own), salt, sugar, paper, bronze, marble, and ready-made objects (2). She uses these to make instillations like in her works (2003) and Stranded on a Watermelon (2009) (2) where she uses bronze or  (2011) and Burlling Bicycle (20111) (2) where she uses salt.


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(1) (2) (3) (4) (5)

Dgolan5 (talk) 09:21, 14 May 2015 (UTC)

Nancy Spero

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

Nancy Spero’s Torture of Women (1976) is a fascinating piece. Although there is a Wikipedia page dedicated to Spero which chronicles her life and her work, there are only three sentences dedicated to her piece Torture of Women throughout the whole page. These three sentences give a brief synopsis of what the piece looked like and how it was “linked to the historical repression of women.” In looking at several other Wikipedia pages surrounding feminist art and the movement behind it, none had any reference to this particular piece by Spero either. In researching the significance and impact of Torture of Women, one can determine that this is a gap that needed to be filled whether that meant adding more information about the piece to Spero’s current Wikipedia page or creating a new page altogether dedicated to the piece’s creation, visuality, and impact. The current information accessible on Wikipedia is insufficient in displaying the importance of the piece to the feminist movement. By lacking to have substantial information about Torture of Women, a gap is apparent that limits the reader’s understanding of its true meaning and representation. Torture of Women represents a history of women suffering that has been consistent in all cultures, classes, and races since the beginning of time. This piece became a symbol that many looked to as the feminist movement began to develop and take form. That being said, an art piece of this magnitude deserves more then just a tiny blurb on Wikipedia that one might hardly notice if not paying attention.

In 1974 (ORIGINAL WIKIPEDIA VERSION), Spero chose to focus on themes involving women and their representation in various cultures; her Torture in Chile (1974) and the long scroll, Torture of Women (1976, 20 inches x 125 feet), interweave oral testimonies with images of women throughout history, linking the contemporary governmental brutality of Latin American dictatorships (from Amnesty International reports) with the historical repression of women. Spero re-presented previously obscured women's histories, cultural mythology, and literary references with her expressive figuration. Rarely exhibited, Torture of Women was translated into book form in 2009.
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Torture of Women (MY EDITED VERSION) was designed and created by Nancy Spero over the span of two years. It consists of 14 panels resulting in 125 feet in length that depicts, in both images and words, the sustained repression of women. Spero uses real testimonies, news reports on missing women, torture definitions, and even violent myths of the gods to create Torture of Women. Torture is a major theme throughout the piece that Spero tries to depict as a tool of political control that has been used to repress women. By portraying the graphic nature of torture through Torture of Women, Spero illuminated a topic that was near invisible at the time of its inception. As the piece gained notoriety, its message began to spread. But perhaps the most potent aspect of Torture of Women is the neutral tone that Spero displays in the artwork. The piece does not seem to be a rallying cry for change but simply a graphic depiction of what has been since the beginning of time. Despite this neutrality, Torture of Women became an important piece in the furthering of the feminist movement even though it was rarely displayed due to its delicate nature. In 2009, Torture of Women was published in a book form just months before Nancy Spero passed away. It still remains an influential piece in the feminist art movement.


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Santanasandradiaz (talk) 16:26, 14 May 2015 (UTC)

Digital Illustration

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As a digital artist myself, I thought it would be fun to do this project on something more personal. There is a digital art page on Wikipedia that goes into some depth, but it mostly talks about 3D art, computer graphics, special effects, etc, rather than the kind of art I am more familiar with. I then found the digital illustration page. It is exactly what I do, but it is quite skimpy, and you can tell it was all written by one person, with only that person’s art displayed (they were probably trying to avoid copyright infringement), and no reliable sources. Digital art is huge now. With all the technological advances, and tablets becoming more affordable for hobbyist artists, it has become a very popular form of art in the modern age. It has become so easy to display your artwork to millions of people online, and gain followers and fans from all over the world. To me, the internet is like the modern museum. There is no one deciding what is and isn’t worthy to be put in this modern museum, because everyone can display whatever they’d like. Because of this, artists become popular based purely on their talent, not just how much their art is worth to a museum. To a lot of people, digital art is still seen as lesser to traditional art and not taken seriously. People believe that because it is on a computer, it does not take talent and anyone can do it. Of course anyone can do it, but anyone can do traditional art too. Not everyone can be good at it. Digital art takes just as much practice, technique, expertise, and talent as traditional art, and I would like it to be communicated as a legitimate art form to the general public.


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YOUR ANSWER HERE


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Lisa o&#39;connnor (talk) 17:15, 14 May 2015 (UTC)

Phil Hansen

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

On Phil Hansen's Wikipedia page there is a lot of missing information about him and especially his artwork. Wikipedia has a few sentences in these three sections biography, career, and Grammy awards. The section that has the biggest gap is in his career there is nothing about his multimedia artwork and movements he has influenced or brought more out to the public. I found this gap fairly easily because all Wikipedia mentions in the career section is his time-lapse piece called Influence. One art piece in his career is not nearly enough to show the creativity Hansen as and artist. Hansen has an abundance of art pieces that show his use of different interlocking axes such as sexuality, sexual orientation, medical conditions, and divorce. The artwork he creates from written stories show a historical view on the issues and concerns during the 21st century and gives people of the future a more personal view of the struggles of gay rights, divorce rates, medical conditions, and obesity. . This gap is important to fill because his art is a important piece of modern art and people thousand of years down the road will be able to still relate to these raw stories that came from his artwork. . His website has a few art pieces that prove that he is a multimedia artist. Specifically, his artwork called A Momement he writes peoples moments of struggle and challenges such as being openly gay, divorce, obesity, and raising a child with Autism.


 * 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.)

Phil Hansen was born in the United States in 1979. Hansen works from the basement of his borther’s home in surburban St. Paul; Minnosota (2). He is mostly a self-taught artist, and learned the basics in art in high school. Shortly, after learning the basics of art he dropped out of high school, to pursue his own way of art or technique instead, and to pay the bills he works as a full time x-ray technician at a trauma hospital (2). He first started out as a artist who had an obsession with pointillism (3). In high school this obsession with pointillism and making repetitive dots on a canvas created permanent nerve damage in his right hand resulting in a permanent jitter. In the pointillism page in in Wikipedia there is a gap because he isn't mentioned as a pointillism artist. Hansen created all of his work using dots at this time so he should be mentioned on the page. Once he realized he had permanent damage to the nerves in his hand he realized that he had to change the way he thought of art, he said in his interview with Tony Simmons on from Wired “ I couldn't do the pointillism that I loved, so I started experimenting with other methods where the shake wouldn't affect my work” (4) In his Ted talk Hansen says how he was discouraged with his hand shake so he he took a few years off but he couldn't stay away from art so he decided to go see a neurologist about the shake. (5). The neurologist told Hansen he had permanent nerve damage and when Hansen took a look at his squiggly line he said "Well, why don't you just embrace the shake?" (5). The comment "embrace the shake" has shaped the artist he is today (5).

Through his inspirational TED talk many people came up to him and wanted to share their stories with him. He was most inspired by a lady who told her story to him who had stage three colon cancer. (1). He decides to write her story onto a huge canvas with the other storys he had heard. This art piece is called Refraction which shows over 1000's stories of challenges and it creates and picture of a 3 birds floating on top of water. He said to CNN "the only sound in the room was a sharpie scraping against the paper, but her voice never stopped in my mind." (1). Hansen specifically wanted these stories to about facing limits because his TED Talk was all about facing his limit of his hand shake. Hansen just wanted to connect with people through his artwork but his art work has turned into a documentation of modern culture and these stories in 1000 years will still be relevant and relatable (1). One of the stories was "On paper, I have the perfect life. I'm married to a man who loves me more than I deserve, beautiful, healthy children, and a great career. But I'm in love with someone else that I can't be with and it impairs me everyday." (1). These stories show our society and culture at this time from being openly gay, to adopting a child, struggle with obesity, and or having a child with Autism. All these stories raise questions and are relatable which is why his work is so powerful in history and should, be mentioned on his Wikipedia page.


 * 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) "Art That Embraces Our Limits". CNN. 2 June 2013. Retrieved 13 May 2015.

(2) Striet, Valerie (5 September 2007). "With YouTube, artist needs no gallery". CNN. Retrieved 13 May 2015.

(3) Caridad, Paul (22 May 2013). "Embrace Your Limitations & Share Your Story". Visual News.

(4) Simmons, Tony. "Interview With Phil Hansen – Author and Banana Tattoo Artist". Wired. Retrieved 5-12-15. Check date values in: |accessdate

(5) Geni, Joseph. "Embrace the Shake". Ted.com. Retrieved 13 May 2015.

Sophie141414 (talk) 06:22, 13 May 2015 (UTC)Sophie ReynoldsSophie141414 (talk) 06:22, 13 May 2015 (UTC) Sophie141414 (talk) 17:28, 14 May 2015 (UTC)

Maria Izquierdo
The gap I came across was when searching for Feminism in Mexico. I noticed that Maria Izquierdo tends to be overshadowed by the well-known artist, Frida Kahlo. “Friday Kahlo’s work, blending both masculine and feminine gender perceptions, challenged false perceptions, as did Maria Izquierdo’s insistence on her right to be independent of any state or cultural attempts to define her art” (Wikipedia). It was interesting to me that although she was the first Mexican female to have her artwork exhibited in the United States she is not given the same recognition as other Mexican artists. It came to my attention that the events that inspired her to create her late works were not on her Wikipedia page and that her style is not accurately represented. It is important to understand the style and life events that have characterized an artist in order to help the viewer understand what message the artist is trying to convey. This gap leads to a complete misrepresentation of her work because it lacks the ways that her life has been shaped in ways that other people may relate to. The intersection of ableism, gender, and Mexican culture are aspects of Izquierdo’s life that need to be deeper explained so that others to can respect her works that have been left behind. With this information being shared it can serve as an inspiration for other aspiring artists that might be disadvantaged to continue fighting. As a Mexican woman, Izquierdo demonstrated to be a warrior whether it was an embolism that left her partially paralyzed, being a single mother, or a nationalist, which was not accepted at the time.
 * Document the gap you found, describes how you identified it, and analyze its impact on knowledge.


 * 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.)

Current Version

In December 1955 she died from a stroke in Mexico City.

Edited Version

In 1948 she suffered the paralysis of half her body, which kept her from moving her right arm, but she continued her prolific career by using only her left arm.

Facing any artist’s worst fear, Izquierdo struggled to train herself to paint with her non-dominant hand instead. She produced all of her final works this way, until the time of her death, but with paintings she did left-handed never reached the same caliber as her previous works.

In December 1955 she died from a stroke in Mexico City.

Current Version

Late Works

One of the last paintings Izquierdo completed was Sueño y premonicón (Dream and Premonition) in 1948. Painting herself holding her own severed head by the hair, the tree branches surrounding her also dangle severed heads. Diminishing figures run along the lower half of the painting while tears fall from her severed head. Although the painting can be interpreted as surrealistic, it's often interpreted as evidence to the suffering she endured in her final years of life.

Edited Version

Late Works

In 1945, at the height of her career, the government commissioned Izquierdo to do a mural for a building in Mexico City. Rivera and Siquieros, two of Mexico's great muralist painters, blocked her from getting the job. When she dared to denounce them in public, she received little help and a lot of strong criticism. She lost a lot of money, and her heart was broken.

Izquierdo began to experience nightmares that left her sleepless. One day, she arose and drew what she remembered… a clear vision of herself, in a window of metaphysical dimension, holding her own decapitated head as her body, still walking, becomes lost in the distance of steps leading to a void. That year, 1947, she painted Sueños y Pensamento, a premonitory painting that heralded great pain for her future. It was the last of her great works.

Current Version

Style

Classified by some as a surrealist painter, María Izquierdo never identified herself as a surrealist. Still, many of her paintings contain unusual subject matters and interesting juxtapositions. Known for her use of bold, rich, and bright colors, most of Izquierdo's paintings were done using oil paints or watercolor.[3] Although she was and is still often compared to Frida Kahlo because both woman launched their careers at similar times, the two have very individual styles.

Edited Version

Style

Classified by some as a surrealist painter, María Izquierdo never identified herself as a surrealist. Her mature paintings are ripe with saturated primary colors. Working in oils, watercolors, and gouache, the artist drew upon themes of Mexico’s traditional culture, especially the circus, popular arts, and rural landscapes. Her portraits and self-portraits often incorporated figures in regional dress, while her still lifes display hand-crafted objects used in popular ritual and devotion. In her late life, Izquierdo produced a number of hauntingly surreal compositions that show vibrant tableaux of typically Mexican fruits and foods before barren, somber-hued landscapes with unusually deep perspectives. Although she was and is still often compared to Frida Kahlo because both woman launched their careers at similar times, the two have very individual styles.

Current Version

Even though she was a female Mexican artist who painted near the same time as feminist Latin American painters, Remedios Varo and Leonora Carrington, Izquierdo did not identify herself as a feminist. A believer that women should have the chance to explore different professional realms, she also held strong to the traditional family roles instilled in her by her aunt and grandmother.

Edited Version

Even though she was a female Mexican artist who painted near the same time as feminist Latin American painters, Remedios Varo and Leonora Carrington, Izquierdo did not identify herself as a feminist.[4] A believer that women should have the chance to explore different professional realms, she also held strong to the traditional family roles instilled in her by her aunt and grandmother. One of these feminist issues that certainly resonated with Izquierdo in particular was the idea of an arranged marriage. Her grandmother convinced her to agree to an arranged marriage to a military officer when she was only 14 years old and, as such, she likely felt as though her childhood had been taken away too soon.


 * 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.)

<http://faculty.hope.edu/andre/artistPages/izquierdo_bio.html> <http://www.artincontext.org/exhibition/exhibition_additional.aspx?id=5175> <http://www.explorandomexico.com/about-mexico/5/239/> <http://clara.nmwa.org/index.php?g=entity_detail_print&entity_id=3933> <http://www.explorandomexico.com/about-mexico/5/239/>
 * "About Maria Izquierdo." Maria Izquierdo. Great Lakes Colleges Association, 2012. Web. 15 May 2015.
 * "Art in Context - Maria Izquierdo." Maria Izquierdo: The True Poetry Additional Information. Art in Context, 1998. Web. 15 May 2015.
 * "Information about María Izquierdo, Great Mexican Painter." Explorando México. Explorando México, n.d. Web. 15 May 2015.
 * "CLARA." CLARA. National Museum of Women in the Arts, 2012. Web. 15 May 2015.
 * "Information about María Izquierdo, Great Mexican Painter." Explorando México. Explorando México, n.d. Web. 15 May 2015.


 * Pomade, Rita. "Maria Izquierdo - Monumento Artistico De La Nación." : Mexico Culture & Arts. Mexconnect, 05 May 2007. Web. 15 May 2015. <http://www.mexconnect.com/articles/1075-maria-izquierdo-monumento-artistico-de-la-naci%C3%B3n>

Dianajguillen (talk) 17:38, 14 May 2015 (UTC)

Senga Nengudi & Maren Hassinger

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

The gap I found is the lack of a notation of collaboration between Senga Nengudi and Maren Hassinger on Maren Hassinger’s Wikipedia Page. Senga Nengudi and Maren Hassinger worked together on multiple art projects. Nengudi’s Wikipedia page gives mention to her collaboration with Hassinger, but not vice versa. Examples of collaborations between the two artists include: Ceremony for Freeway Fets, Get-Up, Alive, Flying, Kiss, Side by Side, Nylon Mesh Series, and Nature’s Way. I found this gap while I was searching a list of female artists and found Senga Nengudi and noticed she had many collaborations on her Wikipedia page. When looking further into the other artists she had collaborated with I saw that they did not all have links to Nengudi’s page as she did to theirs. This gap limits knowledge because if someone were to look on Maren Hassinger’s Wikipedia page, they would not know the interlocking fields of interest Hassinger and Nengudi worked in. In addition, many of the previously listed artworks aren’t mentioned on Hassinger’s page, so without further research past her page it would not be known that she participated in them. This gap happens to be a gap for both Nengudi and Hassinger, because it leaves Nengudi out of the picture on Hassinger’s page and at the same time does not represent many of Hassinger’s works on her own page.


 * 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.)

Proposed new paragraph for Maren Hassinger’s Wikipedia page:

Maren Hassinger has many collaborations with artist Senga Nengudi. Both artists work in a variety of medias. The two artists worked heavily in sculpture and dance (performance). Works the artists collaborated on include: Ceremony for Freeway Fets, Get-Up, Alive, Flying, Kiss, Side by Side, Nylon Mesh Series, and Nature’s Way. Ceremony for Freeway Fets, 1978 was a performance piece that took place under a freeway underpass. In the piece, the artists hung nylons on pillars and had an ‘impromptu’ gathering with singing and dancing rituals including costumes. The underpass where Ceremony for Freeway Fets was performed was almost completely empty, there was little to no audience for the event. This has been attributed to Nengudi and Hassinger’s struggle as colored artists in a market controlled by white artists. Flying, 1982 was a completely collaborative piece. All of the artists played roles in the performance, but each also contributed greatly towards the planning and execution. Nengudi played a large role in design and making use of the performance space while Hassinger focused largely on the choreography. Even when works are not totally collaborative, the two work closely on many projects. This is seen in Nengudi’s Nylon Mesh Series. The Nylon Mesh Series was a series of performances in which Nengudi and Hassinger moved through, and altered, yet were held back by the boundaries of nylon stockings attached to the walls. The set up, planning, and ultimately the performance itself was planned by Nengudi, while Hassinger participated in the performances.


 * 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.)

"Maren Hassinger Biography." African American Performance Art Archive. 13 Dec. 2009. Web. 11 May 2015. <http://aapaa.org/artists/maren-hassinger/maren-hassinger-biography/>.

Nengudi, Senga. "Collaborations." SengaSenga.com. Web. 11 May 2015. <http://www.sengasenga.com/collaborations.html>.

Nengudi, Senga. “Maren and Me.” African American Performance Art Archive, 2009. African American Performance Art Archive. Web. 11 May 2015. <http://aapaa.org/artists/senga-nengudi/maren-and-me/>.

"Senga Nengudi RSVP, 2013." The Studio Museum in Harlem. Studio Museum, 9 Mar. 2014. Web. 11 May 2015. <http://www.studiomuseum.org/event-calendar/event/senga-nengudi-2014-03-09>.

Thorne, Sam, and Allan, Stacey. “Pacific Standard Time.” Frieze Digital, 01 Jan. 2012. Web. 11 May 2015.

Ajj96 (talk) 18:00, 14 May 2015 (UTC)

Enid Crow

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

As I was looking for an artist to do my analysis on, I went to one of the page links set up under the assignment instructions, the link I used was https://en.wikipedia.org/wiki/Category:Feminism_and_the_arts. Under this website there were options to chose from artists, films, literature, etc. I scrolled through several artists and clicked on Enid Crow, her name took me directly to her Wikipedia page. I then went back and continued to look at the other articles to see how much of a gap her page shared verses some of the other artists; it was significant. Enid Crows page did not mention anything about her childhood, her process of becoming an artist, it talked about a select few of her artworks, mainly the well known ones and it did not mention what she is continuing to peruse today. All of these gaps within her article prevent us from being able to understand her perspective as an artist. Where it began, where it is taking her, why she does the work that she does and why she is a feminist. It is important for the reader to know more than just the artists famous works because the more we are exposed to her artwork, the better understanding we have of her stylistic properties. As well as exposure, we must also be able to have access to information that allows us to find what new forms of art she is continuing to create today. Without this information those who enjoy her style of artwork have no way to follow up on the new visual objects she has to offer.


 * 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.)

Early life In 1979 Enid Crow’s parents sent her to the Wendy Ward School of Charm, she was eleven and studied there until she was thirteen years old. Several of the requirements from the Wendy Ward School of Charm had to do with learning how to be a fashion model, a process that included going in front of the class and posing like a model for your photo, as well as putting together a black and white portfolio. (3) This was Crow’s incentive to make her own studio in the basement of her house. In 1989 Crow graduated from the State University of New York with her B.A. in Dramatic Arts. She then continued her education and in 1993 and received her M.A in Performance Studies and Theatre from Northwestern University. Crow finished her education in 2004 from New York University School of Law. (1) Before and after her fair share of education she created a series of photographs. He artwork was inspired by several artists but most accurately speaking of Cindy Sherman, Nikki S. Lee, Lori Nix and Jo Spence. (2) The most recent series she produced was The History of Moustaches. In this series Crow is posing alone as an all American middle class man, it also includes a small subset of seven photos entitled Faggots. (4) This subset of photos depicted masculine fear and homosexual attraction; this was used to make a play on roles of gender and sexuality. (5) Crow became inspired through a piece of writing her law school professor David A.J. Richards wrote about gay rights. These self portraits were first exhibited in 2000 at the first Ladyfest located in Olympia Washington. (1)


 * 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.	Sackler, Elizabeth A. "Feminist Art Base: Enid Crow." Brooklyn Museum. N.p., n.d. Web. 11 May 2015. <http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/enid_crow.php>.

2.	Kim, Lisa, Dina Mullar, and Elke Solomon. "Enid Crow." AIR Gallery. Exhibition and Operations, n.d. Web. 11 May 2015. <http://airgallery.org/artists/enid-crow/#0_1>.

3.	Scholis, Katlind. "The Enid Crow Interview: The Disaster Series Artist's Ideas behind the Screams." The Lamron The Enid Crow Interview The Disaster Series Artists Ideas behind the Screams Comments. Arts and Entertainment, 08 Feb. 2007. Web. 11 May 2015. <http://thelamron.com/2007/02/08/the-enid-crow-interview-the-disaster-series-artists-ideas-behind-the-screams/>.

4.	Higgins, Katy, and Courtney J. Wendroff. "Enid Crow." Brooklyn Arts Council. Brooklyn Arts Council, n.d. Web. 12 May 2015. <http://www.brooklynartscouncil.org/documents/1798>.

5.	Viscio, Alexander. "Enid Crows' Mustache and Other Self Portraits." The New York Optimist. N.p., 5 Dec. 2008. Web. 13 May 2015. <http://thenewyorkoptimist.com/enidcrow.html>.

6.	Carson, Fiona, and Claire Pajaczkowska. Feminist Visual Culture. New York: Routledge, 2001. Print.

Laureiselivin2 (talk) 20:29, 14 May 2015 (UTC)

Feminist Art: A Way of Thinking
Document the gap you found, describes how you identified it, and analyze its impact on knowledge.

The gap that I will work to improve is the definition of feminist art provided on Wikipedia. More specifically, what is lacking are details that illustrate the misconceptions of feminist art. During the early stages of the class, I relied heavily on Wikipedia’s definition of feminist art in order to follow class discussions around this topic. I noticed that the given definition of feminist art on the Wikipedia page was lacking after a number of class discussions where Professor Welland provided her perspective on the subject and as well as during my own online search on the definition of feminist art.

The definition provided on Wikipedia contains good points however it does limit the intentions of feminist art. The Wikipedia definition fails to illustrate that feminist art is a way of thinking, a perspective, and also a practice. Not all feminist art is created to be “feminist art.” Instead, individuals interpret ideas or recognize a message in an art piece which they then identify as feminist art because that message is aligned with the intentions of feminist art. Furthermore, the Wikipedia definition explains that feminist art encourages “viewers” to question social and political norms in society. This is true, however, by having such a vague statement about the core intentions of feminist art devalues the issues that statement is eluding to. Feminist art challenges normative and oppressive behavior and thinking about gender, race, class, identity, and more. Feminist art purposes questions such as what does it mean for something to be art? Who is represented as an artist? And how have these normative ways of thinking persisted and have been tolerated for so long?

'''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 following details of feminist art are intended to be an addition to the pre-existing article of Feminist Art. This information is intended to emphasis that feminist art is a perspective rather than a category. To accomplish this, I will introduce ways of analyzing to then gain a feminist art interpretation. Typically in art description, content, and context are the three pillars of analyzing an art piece. This also holds true for feminist art the only difference lies in the context. In feminist art the context is often tightly interlocked with the concept of intersectionality. Intersectionality refers to the relationships of power such as race, gender, and class. When using a feminist art lens the viewer is focusing on the relationship of these powers or viewing the image to identify the presences of these powers. As I stated earlier feminist art seeks to deconstruct normative behaviors in art which have mainly been perpetuated by institutions such as museums and art schools. In the past there have been very few women artists to have their pieces exhibited in museums. The ways which institutions have been corrected by artists for their influence in perpetuating inequality has been through performances. Although performances are not a practice uniquely feminist, it has been used in ways to reveal and exploit behaviors of museums. When using a feminist art lens one can recognize that the actions taken through performances are aligned with the intentions of feminist art. These are really abstract concepts and ideas, however it is necessary to take these account when speaking of feminist art because these points illustrate that feminist art is a way of thinking and not a specific style or model.

'''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) Parker, Rozsika; Pollock, Griselda (1987). Framing Feminism: Art and the Women's Movement 1970-1985. Pandora Press. ISBN 978-0863581793.
 * 2) hooks, bell (2000). Feminism is for Everybody: Passionate Politics. Pluto Press. ISBN 978-0745317335.
 * 3) Jones, Amelia (2010). The Feminism and Visual Culture Reader. ISBN 978-0415543705.
 * 4) "Feminist Art Movement". The Art Story Foundation. Retrieved 13 May 2015.
 * 5) Girls, Guerrilla (1998). Guerrilla Girls: A Guide to Western Art. ISBN 978-0140259971.
 * 6) Yoshimoto, Midori (2005). Into Performance: Japanese Women Artists in New York. ISBN 978-0813535210.

HeHabte (talk) 03:39, 15 May 2015 (UTC)

HeHabte (talk) 21:08, 14 May 2015 (UTC)

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

The artist that I have chosen to analyze is Jay DeFeo. While looking through her current wikipedia page, it became clear that there was a lot of information missing. This became apparent from looking at the pages of more established artists on Wikipedia such as Pablo Picasso and other popular male artists. However, I was not sure what exact information was missing until I began to research DeFeo. Much of the information already listed on the page, although accurate, was not truly representative of the life DeFeo led or the artwork she created throughout her career. This first became obvious in the case of her high school art teacher, whom the original article does not even mention by name. Mrs. Emery was much more than the art teacher that the original article boxes her into being. There was also an obvious gender bias in the original article, since there was more information about her romantic relationship, marriage and divorce to Wally Hedrick than there was about Mrs. Emery, who was arguably the most influential person in DeFeo’s artistic career. I also found it interesting that the original article focused exclusively on the materials and mediums used by DeFeo and did not mention anything related to the messages and content of her art. In order to become a University Professor of the arts, it is clear that DeFeo must have had clear, thoughtful meanings behind her work. However, the focus on materials shows the gender bias and how women are seen as making crafts and not art. Therefore, these limitations in the original article needed to be adapted to show Jay DeFeo and her art in the most meaningful and representative fashion.

'''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.)'''

Original Text -  Born Mary Joan DeFeo in Hanover, New Hampshire, she came to be known as 'Jay' in high school in San Jose, California. She found a mentor in her high school art teacher, and in 1946 enrolled at the University of California, Berkeley. She earned her BA in 1950 and her MA in 1951, both from University of California, Berkeley.[1] She resisted what she called 'the hierarchy of materials', using plaster and mixing media to experiment with effects, a thread one can see running through the art of that time, especially on the West Coast.

She had been exposed to North American native art in her Berkeley studies, thanks to Margaret Peterson O'Hagan; while in France and England she studied African and prehistoric art in Paris and London libraries. After her brief time working in Paris and London, she traveled in Europe and North Africa, and for 6 months worked in Florence, where she started to find her own kind of imagery.[2]

Upon returning to Berkeley she rented an apartment where she continued her exploration with image and materials. In the mid-1950s, she supported herself by making and selling jewelry.[3] She met Wally Hedrick, a student at the California College of Arts and Crafts, whom she married in 1954 and divorced in 1969.[4] Hedrick, Deborah Remington, Hayward King, David Simpson, John Allen Ryan and Jack Spicer founded the Six Gallery at 3119 Fillmore St in San Francisco, on the location of the King Ubu Gallery, which had been run by Jess and Robert Duncan. Joan Brown, Manuel Neri, and Bruce Conner would become associates of the Six Gallery. DeFeo was present when Allen Ginsberg first read his poem Howl at the famous Six Gallery reading in 1955.[5] In 1959, DeFeo became an original member of Bruce Conner's Rat Bastard Protective Association [6]

In 1959 DeFeo was included in Dorothy Canning Miller's seminal exhibition Sixteen Americans at the Museum of Modern Art, alongside Jasper Johns, Ellsworth Kelly, Robert Rauschenberg, Frank Stella, and Louise Nevelson.[2] Following this she had a solo exhibition at the Ferus Gallery in Los Angeles.[2]

Her most well-known painting, The Rose (1958–66),[7] took almost eight years to create and weighs more than one ton.[8] The painting is so large that it had to be removed by a forklift from her apartment.[8] The making of The Rose was documented in a short film by Bruce Connor entitled THE WHITE ROSE (1967).[9] After finishing The Rose in 1966, DeFeo took a four year break from creating art.[1]

Throughout her four decades of making art, DeFeo worked extensively making drawings, paintings on paper, photographs, photocopies, collages, photo collages and paintings. In 1980 she became a professor on the faculty of Mills College.[1]

In April 1988 Jay DeFeo was diagnosed with lung cancer.[5] She died on November 11, 1989 at the age of 60.[2]

Updated Text -  Mary Joan DeFeo was born in Hanover, New Hampshire in 1929, the same year as the stock market crash that launched the United States into the Great Depression. Shortly after being born, her family moved to the San Francisco are in 1931. Her father, attended university and medical school at Dartmouth as well as the University of California at Berkley and Stanford University after their move to California. DeFeo’s mother was her father’s main source of financial support through school, since this was during the depression. Jay spent most of her time living with family other than her parents, due to marital discourse, living mainly with her paternal grandmother in California (3). She attended high school in San Jose, California, where she came to be known as ‘Jay’. She found a mentor in her high school art teacher, Mrs. Emery, who came to look at DeFeo as a kind of daughter, since her own daughter had faced continuous struggles with alcohol abuse (3). The two maintained a close relationship until Mrs. Emery’s death in 1965. With the financial support of Mrs. Emory, DeFeo enrolled at the University of California, Berkeley in 1946. She earned her BA in 1950 and her MA in 1951, both from University of California, Berkeley.[1] She resisted what she called 'the hierarchy of materials', using plaster and mixing media to experiment with effects, a thread one can see running through the art of that time, especially on the West Coast.

She had been exposed to North American native art in her Berkeley studies, thanks to Margaret Peterson O'Hagan. Upon graduating from Berkeley DeFeo became the first woman to receive the school’s prestigious Sigmund Heller Traveling Fellowship, allowing her to spend eighteen months in Europe (5). While in France and England she studied African and prehistoric art in Paris and London libraries. After her brief time working in Paris and London, she traveled in Europe and North Africa, and for 6 months worked in Florence, where she started to find her own kind of imagery[2] DeFeo was influenced by classical Renaissance artwork and painting, which became evident throughout many of her works (3). The majority of her works were also based on poems written by friends of the artist (5).

Upon returning to Berkeley she rented an apartment where she continued her exploration with image and materials. In the mid-1950s, she supported herself by making and selling jewelry.[3] She met Wally Hedrick, a World War II veteran and student at the California College of Arts and Crafts, whom she married on August 26th, 1954 only to divorce on August 27th, 1969 (4).[4] Hedrick, Deborah Remington, Hayward King, David Simpson, John Allen Ryan and Jack Spicer founded the Six Gallery at 3119 Fillmore St in San Francisco, on the location of the King Ubu Gallery, which had been run by Jess and Robert Duncan. Joan Brown, Manuel Neri, and Bruce Conner would become associates of the Six Gallery. DeFeo was present when Allen Ginsberg first read his poem Howl at the famous Six Gallery reading in 1955.[5] In 1959, DeFeo became an original member of Bruce Conner's Rat Bastard Protective Association. [6]

In 1958 DeFeo took part in several fairly successful exhibitions in California (5). However, her first big showing came in 1959 when DeFeo was included in Dorothy Canning Miller's seminal exhibition Sixteen Americans at the Museum of Modern Art, alongside Jasper Johns, Ellsworth Kelly, Robert Rauschenberg, Frank Stella, and Louise Nevelson.[2] Following this she had a solo exhibition at the Ferus Gallery in Los Angeles.[2]

Her most well-known painting, The Rose (1958–66),[7] took almost eight years to create and weighs more than one ton.[8] The painting is so large that it had to be removed by a forklift from her apartment.[8] The making of The Rose was documented in a short film by Bruce Connor entitled THE WHITE ROSE (1967).[9] The creation of The Rose was a long process which included several versions of the work entitled Death Rose and The White Rose (5). According to Richard Smith, The Rose was meant to represent the balance between life and death that women are constantly suspended in, considering that they are continuously caught between giving life to new beings and their own eminent death (5). The work itself was created by DeFeo adding layer upon layer of paint to canvas, building up a 3D image which she then shaped and chiseled away to achieve the desired effect (2). This style is known as impasto, however DeFeo built up the layers of paint so thick, she had to insert dowels to support the shape of the piece (2). After finishing The Rose in 1966, DeFeo took a four year break from creating art.[1]

Throughout her four decades of making art, DeFeo worked extensively making drawings, paintings on paper, photographs, photocopies, collages, photo collages and paintings. Although many mediums interested DeFeo, she admitted in 1969 that she had always had a special interest in photography (4). DeFeo began to shift her focus to photography soon after in 1970 (1). In 1980 she became a professor on the faculty of Mills College.[1]

In April 1988 Jay DeFeo was diagnosed with lung cancer.[5] She died on November 11, 1989 in Oakland, California at the age of 60 (4).[2]

'''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) "CLARA." CLARA: Database of Women Artists. N.p., n.d. Web. 13 May 2015. <http://clara.nmwa.org/index.php?g=entity_detail_print&entity_id=14229>.
 * 2) "Jay DeFeo." Whitney Museum of American Art. N.p., 2013. Web. 13 May 2015. <http://whitney.org/Exhibitions/JayDeFeo>.
 * 3) Karlstrom, Paul. "Oral History Interview with Jay DeFeo, 1975 June 3-1976 Jan. 23." Archives of American Art. N.p., n.d. Web. 13 May 2015. <http://www.aaa.si.edu/collections/interviews/oral-history-interview-jay-defeo-13246>.
 * 4) Miller, Dana, and Michael Duncan. Jay DeFeo: A Retrospective. New York: Whitney Museum of American Art, 2012. Print.
 * 5) Smith, Richard. "A Woman's Path to Maturation: Joan Brown, Jay DeFeo, and the Rat Bastards." Utopia and Dissent: Art, Poetry, and Politics in California. Berkeley: U of California, 1995. 190-195. Print.

Polvo de Gallina Negra (Black Hen Powder)

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While searching for other Mexican feminist artists besides the well-known Frida Kahlo, I came across an article written by Edward J. McCaughan called Navigating the Labyrinth of Silence: Feminist Artist in Mexico. When I got to the piece he wrote about Monica Mayer, he stated that she, along with Maris Bustamante, founded Mexico's first ever feminist art collective called Polvo de Gallina Negra (Black Hen Powder). The name of this collective stood out to me because growing up I knew that hen powder was sometimes used by traditional witches and sorcerers. I first researched if both of these artists had Wikipedia pages and fortunately, they did, even though they are fairly short. Although it is written on both of their pages that together they founded Polvo de Gallina Negra, a page for this art collective does not exist, which I found pretty interesting. Not including a page for the very first feminist art collective in Mexico limits public knowledge on the history of feminist art and feminist art movement. Polvo de Gallina Negra paved the way for other feminist groups to follow in these steps in challenging the patriarchal systems in Mexico. This was an art collective that went on for ten years where both women became pregnant solely for the purpose of expressing motherhood and challenging the patriarchal system in Mexico. A famous news anchor, Guillermo Ochoa, participated in one of their performances on national television, where he took on the role of a woman. Polvo de Gallina Negra is an important piece in the feminist art movement around the world and not including this in Wikipedia takes away from the already oppressed discipline.


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(Current version)In 1983, with Maris Bustamante, she founded the first feminist art collective in Mexico, Polvo de Gallina Negra (Black Hen Powder).[4] Mayer and Bustamante’s work combined radical social criticism and humour, exemplified by the group’s name: “Black Hen Powder – to protect us from the patriarchal magic which makes women disappear.”[5]

(Edited version)In 1983, with Mónica Mayer, she founded the first feminist art collective in Mexico, Polvo de Gallina Negra (Black Hen Powder).[3] Bustamante and Mayer's work combined radical social criticism and humour, exemplified by the group’s name: “Black Hen Powder – to protect us from the patriarchal magic which makes women disappear.”[4][5] Polvo de Gallina Negra was named after one of the many folk medicinal remedies sold in traditional markets, representing a new stage for feminist artists: a period of creating their own spaces.[1] The name is a remedy against the evil eye, which they felt they needed being women, women artists, and even worse, feminist artists.[2] Polvo de Gallina Negra was the first and only explicitly feminist group to form in contrast to the longstanding tradition of male-dominated groups of which Mayer and Bustamante were also part of.[4] For 10 years they staged what they called “montages de momentos plasticos” (montages of visual moments) on a wide variety of women’s issues, ranging for the stereotypes of motherhood to rape. [1] They produced anti-rapist potions that they distributed in public. Popular culture became a strategy for critical interventions presented in the form of parody. This allowed them to introduce ambiguity in the very codes that give order to feminism's repertoire. [5] The objectives of Polvo de Gallina Negra were to analyze image of women in art and media, study and promote the participation of women in art, and create images from the experience of being a woman in a patriarchal system, based on a feminist perspective and with a view to transforming the visual world and thus alter reality. [3] Some of their work, such as “mother of the day” performance in 1987, aired on television, allowing them to reach an estimated 200 million viewers. Other feminist art groups, such as Bio-arte, Coyolxauhqui Articulada, and Tlacuilas y Retrateras followed this example.[1]


 * 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.)


 * McCaughan, Edward J., Navigating the Labyrinth of Silence: Feminist Artists in Mexico. Social Justice, Vol. 34, No. 1 (107), Art, Identity and Social Justice (2007), p. 44-62. www.jstor.org/stable/29768421
 * Elizabeth A. Sackler Center for Feminist Art: Feminist Art Base: Monica P. Mayer. (n.d.). https://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/monica_p_mayer.php?i=556
 * Polvo de Gallina Negra (Mexico 1983-1993). (n.d.). web. http://artesescenicas.uclm.es/index.php?sec=artis&id=149
 * Erin L. McCutcheon . FEMINISM UNFOLDING : Negotiating In/Visibility of Mexican Feminist Aesthetic Practices within Contemporary Exhibitions, in Numéro 5 .(c) Artelogie, n. 5, October 2013. URL: http://cral.in2p3.fr/artelogie/spip.php?article229
 * Andrea Giunta. Feminist Disruptions in Mexican Art, 1975 – 1987. number 5 .(c) Artelogie, n. 5, October 2013. URL: http://cral.in2p3.fr/artelogie/spip.php?article271

Marimtz27 (talk) 21:47, 14 May 2015 (UTC)

Jessica "Jessy" Park Autistic Artist

There is a brief reference to Park on the Autistic Artist Wiki page, but the page in general is greatly lacking representation from the field of autistic artists.

Jessica Park, born in Williamstown MA on July 20, 1958, a primarily self-taught artist. Autism Spectrum Disorder is often diagnosed by the individual’s level of social impairment and their verbal interactions (1) both of which Park exhibited in her early life. Her mother, Clara Claiborne Park, described Park’s early years as a state of Nirvana because Park would lapses into states of timelessness and become singularly enrapt by nothingness (6). Clara Park became a social advocate for Park, published two books The Siege: A Family’s Journey Into the World of an Autistic Child (1982) and Exiting Nirvana: A Daughter’s Life with Autism (2002)(5).At the age of five Park began learning verbal speech by being shown series of shapes and then learning drawing them, which soon enabled her to identify colors and led her to drawing in perspective before age eight (2)(6). Through out her career she has developed a focus on buildings and the colors she associates with geometric colors, reflecting on her fascination with shapes and perhaps her disassociation with people.

Autism in Western culture is often seen as a life limiting diagnosis, placing constraints on what an individual can accomplish and desire from life. Society is predominately neuro-typical and is constructed to fit the majority rather than embrace the continuity of human existence. Clara Park (The siege) rejected this philosophy while raising Park and encouraged her visual for of self-expression. Park’s artwork has been exhibited throughout New York City in different autism awareness exhibitions from 1993-Present, the United Nations in 2008, through out Boston from 1993-Present, and she is often exhibited at Massachusetts College of Liberal Arts (7).

References (1) (2) (3) (4) .(5) (6) (7)

https://en.wikipedia.org/wiki/User:Jfunk93

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YOUR ANSWER HERE


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YOUR ANSWER HERE


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 * FIRST SOURCE
 * SECOND SOURCE
 * THIRD SOURCE
 * FOURTH SOURCE
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Jfunk93 (talk) 22:09, 14 May 2015 (UTC)

Chicana Feminist Art

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

The Wikipedia gap I have identified is in Chicana feminist art. I have always been interested in the art that is created by Chicana Feminist women and the hidden messages that this art withholds. I have taken several Chicanos studies courses at the University of Washington, but the course that had the greatest impact on my views and opinions was the Chicana Feminist Art course. Through this course I learned about the several movements that Chicana women took part of and the impact of their contributions within the Hispanic community. We learned about artist that altered images that fall within societies norms to something that would be considered outrageous. This type of art has an incredible story behind it and amazing Chicana feminist women artist who have created the wonderful pieces of art. When I created my account I already knew what my topic was going to be, but what I did not realize was that a Wikipedia page has not been created to recognize Chicana feminist art/artist. The lack of information, let alone the absence of a Wikipedia page startled me because the Chicano movement was a big movement in the United States, and Chicana feminist art is a very important branch of this movement. Chicana feminist art is powerful to the Mexican-American community being that it is made up of race, education, class, gender, the issue of not being able to identify with a particular nationality, and most importantly sexuality. Chicana feminist art has a strong emphasis on sexuality because lesbians are commonly shunned among the Mexican culture, yet this art makes lesbians look powerful and admirable.


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The main component to filling in the Wikipedia Gap would be to create a Wikipedia page titled Chicana Feminist Art. This page needs to have information about influential Chicana artist that show the struggles Chicana women have faced through their art. Some of these women include, but are not limited to, Yolanda Lopez, Barabara Carrasco, Linda Lucero, and Yreina Cervantes. Yolanda Lopez is an artist and educator who worked along side “Los Siete de la Raza.” Her art is composed of pieces that challenge the “lady like” image of a woman. It often brings controversy because she alters the images of important Mexican women figures to her ideas of what it means to be a woman. Barbara Carrasco’s art focuses on the Chicana-working women, who have been raped, insulted, and mistreated in the fields. Linda Lucero is also a Chicana Feminist artist who promotes diverse communities through her art. Yreina Cervantes seeks to make a positive change in society through her artwork by depicting women who are fighting for their rights. Aside the women themselves, this Wikipedia page needs to have artwork displayed on it along with the history behind the paintings and the events that lead to the artist making particular paintings. Chicana feminist art is full of important messages that more people need to be exposed to. Without this art and the efforts of the Chicana feminist women our society would remain ignorant and uneducated about the Chicanas hardships. Chicana feminist art allowed women to voice their ideas because nobody would hear them out when they tried to talk about them.


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 * 1)

2)

3)

4)

5)

ArianaVergara (talk) 22:41, 14 May 2015 (UTC)

Jennifer Linton (a.k.a. Lady Lazarus)
There is no Wikipedia page dedicated to Jennifer Linton, or references to her work and her role as a feminist artist. I hadn't even heard of her before I saw her name briefly mentioned in Women's Voices, Feminist Visions, a textbook I read for a Women's Studies course. Upon seeing an unfamiliar name, I looked into her work and found it to be incredibly effective at critiquing societal views of female sexuality and the archetypal roles impressed upon women. This underrepresentation of female artists in both academic circles and popular culture is a huge problem that needs to be addressed and solved if we are ever to see more opportunities for female artists. Through promotion of feminist art and works by female artists, we can help spread awareness of the societal inequalities these artists seek to criticize, as well as paving the way for future generations of female artists.

Jennifer Linton, a Canadian, mixed-media visual artist, was born in 1968 in North Vancouver, British Columbia (1). She obtained degrees in art, art history, and graphic design from Sheridan College, University of Toronto, and York University and has had many solo and group exhibitions at numerous galleries, including the Lilith Gallery, Propeller Centre for Visual Arts, Red Head Gallery, and Cambridge Galleries, just to name a few (1)(2). Her films have been shown internationally in Brazil and Boston, as well as in her current hometown of Toronto (5). Linton has also received a number of awards from various organizations throughout Canada (1). Though she works in many mediums, animation, printmaking, drawing, and installations seem to be her primary areas of focus (1)(5).

Linton's experiences as a wife and mother play a large role in her work and she tends to use her own body as a model and subject for expression (2)(3). She frequently alludes to major historical and mythological figures in Catholicism and Greco-Roman culture, often placing them in a contemporary context and straying from traditional interpretations of the stories surrounding these characters (4). Through these portrayals Linton explores links between female sexuality and religion and expands upon her prominent themes of body image and motherhood (2)(3). Her unique mixed-media, often collage-like approaches make her style memorable and drives her message even further home (4).

Linton currently lives in Toronto, Canada, with her husband and two sons. She teaches art and design classes at schools such as OCAD University and Sheridan College (1).

    

Molly.clark13 (talk) 23:08, 14 May 2015 (UTC)

Mary Beth Edelson's "Some Living Women Artists/Last Supper" Context and Content

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

In searching for the appropriate topic to cover in my analysis, I was looking into the themes of women artists and I stumbled across Mary Beth Edelson. To my surprise, she had a fair amount of history and background on her life and art on the Wikipedia page titled, “Mary Beth Edelson,” but her art work was not described in detail, nor did it have the meanings behind her art or the context of each piece. I went through her pieces and saw she had did a piece called “Some Living Women Artists/Last Supper.” On her Wikipedia page, this artwork had a few sentences to describe the collage and give little detail to the context to this art piece. This piece struck me as interesting due to its involvement in a remake of Leonardo da Vinci’s “Last Supper.” The Wikipedia page described the collage and discussed a brief meaning to her art, but I was not satisfied with the amount of context and content. There needed to be more about the reasons for this art piece and context behind it even further. Wikipedia states that the art piece was contributing to the role of women in the church and religion and how this piece became one the most iconic images of Feminist art, but did not explain how or why it was considered iconic. Personally, I am not familiar with Edelson’s involvement in the Feminist Revolution and art, thus I wanted to find out more on her and the meanings conveyed in this iconic piece.


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Mary Beth Edelson infuses the idea of the female body and how to involve it socio-politically. Edelson questions the stereotyping of women caused by the patriarchal systems brought through the many restrictions society throws upon women. With this, Edelson portrays the female body as a symbol of empowerment and destroys any archetypes created by a dominating male society (1). In Edelson’s “Some Living Women Artists/Last Supper,” it is composed of a collage of photographs of women from the Feminist Movement in the 70’s on the art piece “The Last Supper” by Leonardo da Vinci. It was created in 1972 and was composed of china marker, pencil, and ink and was part of a collage series called “Death of the Patriarchy” (2). The use of the women’s photographs on the male figures (Jesus and his disciples) is the portrayal on how the religious community and society itself has deemed authoritative figures as male only. She is pointing out how a broad spectrum of religious cultures exclude women to have access to these positions. A main point Edelson makes is the reason behind male dominance in these authoritative positions is because Christ was male, not female. According to this stereotyping of women, women’s roles in society are to reproduce and have limitations on the use of their bodies (female contraceptives and abortion) (3). Edelson’s philosophy for this art piece was incorporating humor into some of the controversial issues her art reveals. The use of humor allows for interpretation without the joker (the artist) getting condemned (4). Edelson’s reuse of an influential and popular art piece gives the artist a sense of empowerment, shifting the meaning of the original piece from patriarchal to female empowerment (5).


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 * (1)"About Mary Beth Edelson." Lib.stanford.edu. Web. 14 May 2015. https://lib.stanford.edu/women-art-revolution/bio-mary-beth-edelson
 * (2)"Mary Beth Edelson." Mary Beth Edelson. Web. 14 May 2015. http://www.marybethedelson.com/posters.html
 * (3)Aleci, Linda. "Mary Beth Edelson." Mary Beth Edelson. Web. 14 May 2015. http://www.marybethedelson.com/essay_pigeye.html
 * (4)Wentrack, Kathleen. "Outpost NYC DCG – Mary Beth Edelson: Humor Is the Best Game in Town." Outpost NYC DCG – Mary Beth Edelson: Humor Is the Best Game in Town. Web. 14 May 2015. http://outpostnycdcg.com/projects/mary-beth-edelson-essay/
 * (5)Elias, Brittany. "A History of Art as Power: Why Fair Use Is No Surprise | The Dotted Line Reporter." The Dotted Line Reporter. 2 Apr. 2014. Web. 14 May 2015. http://dlreporter.com/2014/04/02/a-history-of-art-as-power-why-fair-use-is-no-surprise/

Mummm1 (talk) 23:22, 14 May 2015 (UTC)

Tomiyama Taeko

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

I was especially interested in the Japanese artists that we learned about in class, Yayoi Kusama and Yoko Ono, but the Wikipedia pages for both women are fairly comprehensive. Both artists came to the US fairly often. They worked here and they had shows here, so they were quite well known. I decided to look into other feminist Japanese artists who might not be so well known and learned about Tomiyama Taeko. There isn’t a Wikipedia page for her at all and there is generally very little information about her. A lot of the webpages and papers that are about Taeko are in Japanese, which means that it is more difficult for non-Japanese speakers to learn about her. Despite the fact that much of the work that has been done on Taeko is in Japanese, I found that one woman in particular, Rebecca Jennison, took an interest in her work. She has written papers on Taeko in English and she has also translated other essays from Japanese to English. The main reason this gaps exists is because there is a language barrier. Taeko is quite well known in Asia, but the West has not been as exposed to her artwork. Since there aren’t many sources about her in English, it makes it more difficult for the West to be exposed to her work, which often dealt with feminism, colonialism, and race issues. This gap limits the information available to Westerners about Asian artwork and issues that are common in Asia. It makes it much more difficult for non-Japanese speakers to learn more about the people and cultures that come from this part of the world.


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Tomiyama Taeko was born in Kobe in 1921 (1, 2). She went to school in Harbin and discovered her passion for art at a young age (1, 2). She also became interested in social issues at a young age. She was living in Manchuria while the Japanese were occupying it in the early 1930s (1). Her peers were mostly of Chinese or Korean descent and she sympathized with their situation (1). When Taeko was 15, she began ordering art books from Tokyo and in 1938 she left her family to go to study at the Women’s Art College there (1, 2). She did not enjoy the academic environment of the school and rebelled against, eventually getting expelled (1). Taeko feared that the ongoing war was destroying her chances at ever becoming an artist and hoped that it would soon be over (1). When the war finally did end, she began to research why it started in the first place and found that it mainly had to do with the colonization of Asia (1). She became more and more interested in social issues around the world, eventually travelling to Brazil, Cuba, Afghanistan, Syria, Iran, and Iraq (1). Taeko wanted to see the impacts that Spanish and American colonization had left on these countries (1). Tomiyama Taeko is well known for making art inspired by and commenting on social issues (3). She first became famous for a series of woodblock prints that were inspired by the Gwangju Massacre in South Korea (3). During World War II and the Cold War, she reevaluated her relationship as an artist to social justice and politics (3). Taeko was drawn to Marxism and the labor movement in Japan (3). Taeko was also inspired by the growning feminist movement in Japan and how it intersected with issues of class and race (3). The intersection between these realms of thought lead Taeko to create series of art about subjects such as Korean laborers and comfort women for the Japanese military (4, 5). She was interested in showing how imperialism and oppression used gender relationships to hold on to power (4). She believed that historians were not writing enough about this part of Japanese history, so she created two oil paintings on the subject (4, 5) Taeko believed that her art on these subjects would help give a voice to those who had been oppressed for so long and to reveal their suffering to the rest of the world (5).


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 * 1. Jennison, Rebecca. “Tomiyama Taeko: An Artist’s Life and Work.” Critical Asian Studies (2001): 101-19. Print.
 * 2. Jennison, Rebecca. “Remembrance and Reconciliation in Tomiyama Taeko’s Art.” Inter-Asia Cultural Studies: 301-16. Print.
 * 3. Hein, Laura and Rebecca Jennison. Imagination Without Borders. Ann Arbor: Center for Japanese Studeies, the U of Michigan, 2010. Print.
 * 4. Jennison, Rebecca. “ ‘Postcolonial’ Feminist Locations: The Art of Tomiyama Taeko and Shimada Yoshiko.” U.S.-Japan Women’s Journal (1997): 84-108. Print.
 * 5. Stetz, Margaret D. Legacies of the Comfort Women of World War II. Armonk: M.E. Sharpe, 2001. Print.

Anniem99 (talk) 23:30, 14 May 2015 (UTC)

Simryn Gill

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

I discovered the work of Simryn Gill when browsing the archives of past student projects. I quickly fell in love with her series A Small Town at the Turn of the Century, a collection of photos in which the identities of the subjects were obscured by fruit. I was intrigued by the work and decided that I wanted to learn more about the artist. However, when I searched her name on Wikipedia I soon discovered that there was no page covering Gill’s work nor her personal history. This is not too say she wasn’t referenced, and in fact, Gill’s name was retrieved in results for 7 different pages. Each of these results mentioned Gill in light of an exhibition, festival, or gallery but failed to link to further information about her as an artist. The idea that Simryn Gill’s work was considered prominent enough to repeatedly reference in relation to other factors but not enough to constitute an individual article was upsetting to me. It seemed obvious in my mind that an artist who was recognized for their relevancy to important art exhibitions would be deemed worthy of their own biographical feature.

Wikipedia’s gap in covering the life and work of Simryn Gill is not based only in the lack of a personal page, but also in other pages that the information about her could contribute to. For instance, under the category Women Photographers, Gill is not mentioned under the subcategories Singapore (the country of her birth) nor Australia (her current country of residence). Ironically, Wikipedia separates artists known as “women photographers” from “photographers” and then again into categories of nationality, an idea that Gill’s body of work protests. For example, A Small Town at the Turn of the Century as a series captures individuals but obscures their identity in a way that prevents classification through race, gender, sexuality, etc. By slowing the immediate recognition of these traits, Gill puts focus on the idea that they do not define an individual. However, by Wikipedia’s standards they do, as the site continues to separate the categories an artist such as Gill could be placed into. Perhaps a photographer such as Gill has a tremendous impact on photography as a whole, but by creating this divisions the knowledge about their work and influence is limited.

''';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.)'''

Simryn Gill (born in Singapore in 1959) is a postcolonial artist currently based in Sydney, Australia. Much of her early career and education are a mystery, as Gill is “concerned it might lead to a misunderstanding of her work”. Born of Indian descent and raised in Malaysia, Gill’s work reflects her multicultural identity through photographs that expose what she describes as “how we are in the world” as the humans who inhabit it. Although photographs are Gill’s primary media, she does not label herself a photographer. Instead she sees photography as her means of connecting with the world she lives in.

Gill has achieved international recognition as her photographs were featured in several galleries around the world. First participating in the Venice Biennale of 1999, Gill has since shown at other prominent international biennales including Sydney(2002 and 2008), Sao Paulo (2004) Singapore (2006), and Germany (2007). In 2006, Gill’s work was shown in a solo exhibition at both the Tate Modern in London and the Smithsonian Institution in Washington DC.

Much of Gill’s photographic art involves the use of multiple methods of creation, often through collection of found materials and objects as subject matter. In her series Forest (1996-1998), Gill focused on the rearrangement of nature though the inclusion of old book pages in the trunks of trees and in the dirt. Each photograph involves a paper structure created from the pages that is used to mirror the forms of the natural subject.

Simryn Gill has also experimented outside of photography, with an exhibit in the Heide Museum of Art. Paper Boats (2010) provided museum guests with encyclopedia pages to make their own origami ships to add to the installation piece. Similarly, Garland (2006) allowed guests to interact with some of Gill’s found items from visits to Singapore and Malaysia.

''';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.)'''

"Simryn Gill B. 1959, Singapore." Collection Online. Guggenheim New York. Web. 15 May 2015. <http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/11680>.

Kelly, John. "Being There Simryn Gill @ the Venice Biennale." Art Monthly Australia 1 July 2013: 9-13. Print.

Cass, Naomi. How We Are in the World: The Photography of Simryn Gill. Fitzroy: Centre For Contemporary Photography, 2009. 1-9. Print.

Storer, Russell. "SIMRYN GILL: GATHERING." Heide Museum of Modern Art. Arts Victoria, 2010. Web. 14 May 2015. <http://www.heide.com.au/assets/files/Media-Release/Simryn-Gill-MR.pdf>.

Carter, Jenni. SIMRYN GILL: 32 VOLUMES. Victoria: Centre For Contemporary Photography, 2006. 1-9. Print.

Alyssalaurenhuber (talk) 00:06, 15 May 2015 (UTC)

Iranian modern and contemporary art/Shirin Neshat

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

I identified two gaps during my Wikipedia search. The first was on the Iranian modern and contemporary art[] page. Where there is a significant gap of women Iranian artists both absent or misrepresented. The few names of women artists that are listed on the page either don't have a wikipage of their own or are not hyper linked, and the few women who are on the page, there is no information listed by their names. For example what type of works they focus on or the type of education they received, but most of the men listed on the page have one of these things listed by their names. I'm aware that I cannot fill this gap by creating wikipages for all the women artists listed there but adding more names and footnotes of their backgrounds will contribute to the start of closing this gap. I found this page by looking at Shirin Neshat's[] page. While I was looking through her page I also recognized a gap in the timeline of her works presented. There are few works named/listed during 2002-2005 when she published quite a few works, but many of her earlier works from 1993-2001 aren't listed at all. Also by her name on the Iranian modern and contemporary art page it says that she is a "fine artist". I believe this extremely belittles her work and contributions as an Iranian artist and a woman artist. By listing her as "fine artist" you are removing her from a number of other categories that she is underrepresented (if at all), such as photography, video installations, still-frame, etc. I hope to fill this gap by providing information on her earlier works as  well as background information on herself as a diverse artist.


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Current page of Iranian modern and contemporary art Iranian_modern_and_contemporary_art

Edited version: -Parvaneh Etemdadi (1948), Painting [], Department of Fine Arts, University of Tehran -Bita Fayyazi (1962) Ceramics, Sculpting [], studied ceramics and pottery at the Iranian Handicrafts Association -Ghazel (1966) Cinematography [], Bachelor of Fine Arts degree and Masters of Arts degree in Visual Arts from Ecole des Beaux Arts, Nimes, France 1990, BA in Cinematography, Paul Valery University, France, 1994 -Shadi Ghadirian (1974) Photography [], Azad University, Tehran, 1998 -Shirin Neshat (1957) Photography [], Cinematography[], Video installation [], Bachelor of Fine Arts degree 1979, Master of Arts degree 1981, Masters of Fine Arts degree 1982, from the University of California, Berkeley

Shirin Neshat's current page of Wikipedia []

Edited version: Education: Left Iran for USA, 1974, where she studied art and was in Los Angeles when the revolution took place in Iran, 1979. Graduating from the University of California, Berkeley with a Bachelor of Fine Arts degree 1979, Master of Arts degree 1981, and Master of Fine Arts degree 1982.

Work: Neshat returned to Iran in 1990 and was deeply affected by the radical transformations. Pulling from her traumatic experiences returning home from Iran, Neshat developed works with the subject of women in relation to Iranian society and the revolution in mind.

Works: -Women of Allah 1993-1997, This series was created soon after her return from Iran since the Islamic revolution. It explores various philosophical and ideological aspects of the Iranian revolution, including the concept of "martyrdom". At heart, each image conceptually and visually proposes the paradoxical reality of how ideas about religion, violence and politics intersect in Islamic practice. Women of Allah also questions the role of Muslim women and the female body in relation to the violence they encounter through the revolution. Neshat uses specific iconography such as the veil, text, guns, and the female body to suggest such contradictory ideas as repression, submission, resistance, and aggression. --Offered Eyes, 1993 --Rebellious Silence, 1994 --Guardians of Revolution, 1994 --Speechless, 1996 --Untitled, 1996 --Bonding, 1995 --Seeking Martyrdom #2, 1995

-Anchorage 1996, Video-projection, 4 minutes, Color, Sound, Anchorage marks the first major video installation produced by Neshat. Anchorage follows similar themes as the photographic series Women of Allah. Anchorage depicts a woman (Neshat herself) standing in total darkness with all her body parts with exception of face, hands and feet masked. During this video she engages in three distinct activities; first she is seen to be praying with rapid recitation of the Koranic chant and body movements. Next, she pulls out a pistol, aims and fires directly toward the viewer. Finally, she releases the arm and turns to engage in a meditative dance.

-The Shadow under the Web 1997, Video-projection on four screens, Color, Sound, Loop, 5 minutes, Filmed in Istanbul, this piece is an installation of four separate, simultaneous projections, one on each wall, constantly shifting perspective in space and time. The Shadow under the Web addresses the issue of gender in relation to spatial boundaries in traditional Islam. Throughout the video a veiled woman (Neshat herself) runs on an endless flight through four different sites that span history from pre-Islamic to the sacred space of a mosque, to contemporary public and residential spaces.

-Pulse 2001, 16mm film, B/W, Sound, 8:30 minutes, In Pulse, Neshat leads her audience into the private space of a Muslim woman. To underscore the theme, she adopts a single screen format and a minimalist approach. We enter the space that is lightly charged with romanticism and sensuality. The camera moves through the room gently, resting on a figure of a woman's body sitting next to the radio. As the camera moves closer we watch the woman's soulful longing and share in her solitude. With the song's end, the camera backs out of the room into the void, and what remains is a pulse echoing.

-Possessed 2001, 16 and 35 mm film, B/W, Sound, 9:30 minutes, Possessed explores the age-old question of what constitutes madness. With the first two shots, Neshat establishes her protagonist as a schizoid personality. In any culture, madness represents a breakdown of socially constructed order. It is also a decision to depart from the norm and truly reach a level of individual freedom. Thus Possessed goes beyond local and culturally specific concerns and enters a global dialogue about the schizoid of humanity at large.

Awards: -1996; New York Foundation of Arts Photography Fellowship. Tiffany Foundation Visual Art Fellowship -2000; Cal Arts Alpert Visual Arts Award in the Arts. Grand Prix, Kwangju Biennale


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Shaydagol (talk) 00:21, 15 May 2015 (UTC)

Digital Illustration

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As a digital artist myself, I thought it would be fun to do this project on something more personal. There is a digital art page on Wikipedia that goes into some depth, but it mostly talks about 3D art, computer graphics, special effects, etc, rather than the kind of art I am more familiar with. I then found the digital illustration page. It is exactly what I do, but it is quite skimpy, and you can tell it was all written by one person, with only that person’s art displayed (they were probably trying to avoid copyright infringement), and no reliable sources. Digital art is huge now. With all the technological advances, and tablets becoming more affordable for hobbyist artists, it has become a very popular form of art in the modern age. It has become so easy to display your artwork to millions of people online, and gain followers and fans from all over the world. To me, the internet is like the modern museum. There is no one deciding what is and isn’t worthy to be put in this modern museum, because everyone can display whatever they’d like. Because of this, artists become popular based purely on their talent, not just how much their art is worth to a museum. To a lot of people, digital art is still seen as lesser to traditional art and not taken seriously. People believe that because it is on a computer, it does not take talent and anyone can do it. Of course anyone can do it, but anyone can do traditional art too. Not everyone can be good at it. Digital art takes just as much practice, technique, expertise, and talent as traditional art, and I would like it to be communicated as a legitimate art form to the general public.


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For the revision of the Digital Illustration Wikipedia page, I propose many changes. First, this article should list some “famous” artists as well as show more art work [1]. I know Wikipedia is very strict about copyright and plagiarism, but with written consent we may be able to add images by some artists famous among the digital art circles, such as Yuumei (Wenqing Yan), and Sakimichan. This page could also benefit from listing some of the ways digital art is shared and displayed, with lists of popular social media sites used by digital artists, such as Facebook, Tumblr, deviantArt, Pixiv, Instagram, Twitter, etc. It could also include information about programs and creation of digital illustration[2][3]. This could go along with what is already included about raster vs vector based illustration. For example, Adobe Photoshop could be listed as a popular raster/bitmap based program, while Adobe Illustrator could be listed as a vector based program. Finally, I think this article should have a section for some of the controversies that have risen in response to the digital art movement. For example, theorist Jean Baudrillard describes that an audience looking at images through a computer screen will become absent and lost, as described by Cynthia Freeland, while others, like McLuhan, believe that digital art “will restore aspects of right-brain functioning suppressed by literacy”[4]. Another huge controversy is art theft, digital modification of others' art, and the anonymity of the internet and never knowing for sure if someone produced a work of art or if they stole it [5]. Finally, with technology advancing continually and rapidly, both teaching digital art, as well as mastering it, become an issue [6].


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Lisa o&#39;connnor (talk) 01:03, 15 May 2015 (UTC)

Elena Villaseñor Zepeda

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In a book entitled North American women artists of the twentieth century: a biographical dictionary, I found information on artist Elena Villaseñor Zepeda. Wanting to know more about her, I naturally searched her name on Wikipedia, but an article about her simply doesn't exist. In fact, any information about her at all, on wikipedia or otherwise on the web is difficult to come by and much of it in Spanish, but there are plenty of books which include information about her. There are even books written by Villaseñor herself, though these are limited in availability and in Spanish. This is unfortunate considering Elena Villaseñor Zepeda is a multi-award winning painter, graphic artist, and printmaker. According to my research she has been working since the late 1960's with well over 100 exhibitions (solo and group) under her belt. Anyone could agree the such an artist has every reason to be on Wikipedia. Yet, for some reason, she is not. It is well known that Wikipedia is used by millions everyday to look up the most basic knowledge. Keeping Elena and other artists out of the database contributes to the sad lack of both women and Latina artists, especially in comparison to male and white artists, which is a documented pitfall in Wikipedia's database. To help resolve this issue, and perhaps inspire others to further mend the gap in knowledge and contribute more information about Elena as well as create articles for even more artists, I propose Elena Villaseñor Zepeda receives her own Wikipedia article as soon as possible as well as linked in the Sahuayo under notable persons as she was born there.


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Summary:

Elena Villaseńor Zepeda is an award winning mixed-media/graphic artist and painter, based out of Mexico City, Mexico. She has contributed to at least 137 exhibitions around the world. She is "noted for her Expressionistic compositions with themes relating to war, hunger, and poverty."

Early Life:

Elena Villaseñor Zepeda was born June 12, 1944 in Sahuayo, Michoacán, Mexico. She moved to Mexico City when she was young.

Education:

1967-1968: Studied drawing and painting under painter Luis Sahagún.

1969-1971: Studied at Escuela de la Acuarela [The Water Color School]

1972-1975: Escuela de Pintura, Escultura y Grabado La Esmeralda [The Esmeralda School of Visual Arts]

1980: Studied graphic arts at the Art Students League of New York

Works:

“El Estanque” (1987) "the work depicts three women who seem to be cavorting in a flower decorated pond. Her color and form appear to derive from the fairs and fiestas, the legends and rites, the very soul and heart of Mexico.”

Exhibitions:

Awards:
 * 1975 The Iron and Steel Institute
 * 1977 Molino de Santo Domingo
 * 1978 Galería Chapultepec, Instituto Nacional de Bellas Artes
 * 1980 Galería San Angel
 * 1981 Kraskin Gallery, Atlanta, Georgia, USA
 * 1982 Mujeres Artistas-Artistas Mujeres, Museum of Fine Arts, Toluca, Mexico
 * 1982 Fourth Exhibition of Latin American Printmaking, Fundación Cultural de Curitiba, Brazil
 * 1982 La Noche de las Escrituras Convent, Tepoztlán, Morelia
 * 1985 Pintura Erótica Mexicanna, Factory Place, Los Angeles, California (1985)
 * 1986 Galería Etceterum
 * 1989 Apocalipsis, Oil and Encaustics Museo Universitario del Chopo, Mexico City.
 * 1990 ¿A donde van las sirenas? Casa de la Cultura México-Japón Mexico City
 * 1993-1994 Metaforas Urbanas [Urban Metaphors], Museo del Palacio de Bellas Artes, Mexico City.
 * 2000 Ciudad Relampagueante [Lightning City] Tecnologico de Monterrey, State of Mexico Campus, Mexico.
 * 2000 Tiempos Recurrentes [Recurring Times], Galeria Metropolitana, Universidad Autonoma Metropolitana, Mexico City.
 * 2001 Ciudad y Personajes [City and People], Engravings, Estacion Pino Suarez, Metropolitan System, Mexico City.


 * 1979, 1980 first place in printmaking, Concurso Día del Arbol y Fiesta del Bosque, Instituto Nacional de Bellas Artes (aka INBA)
 * 1980 second place Concurso Sor Juana Inés de la Cruz
 * 1981 second place Concurso de Pintura la Ciudad, Instituto Nacional de Bellas Artes
 * 1984 prize in Fourth Latin American Engraving Contest, Curitiba, Brazil.
 * 1991 work chosen for Fourth Biennial of La Habana, Cuba


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Emilylh (talk) 01:13, 15 May 2015 (UTC)

Lee Price (Artist)
For my Wikipedia gap analysis, I chose to look into Lee Price, a figurative surrealist painter. I chose her because she is currently not represented on Wikipedia and feel that she and her work should be recognized. There is little to no information on her across the Wikipedia site. The lack of information and research in relation to her theme of work and artists only included topics under “gender and food insecurity” and “Gary Lee Price”, an artist with her same name, though is obviously a male counterpart. This gap in Wikipedia limits knowledge and awareness of a unique artist who powerfully showcases the relationship between women, beauty and self-image through food. This is an important gap that should be acknowledged because very few artists capture the relationship between women and food like Price has in these past years. Generally, it is far more common for a woman to feel judged and ashamed of her own body and what she eats than for men to commonly feel this way. The pressures of societal norms to be thin and beautiful have created an unequal gendered norm, where women feel the need to live up to the societal standards in order to be labeled as attractive. Price's theme also captures a common struggle for women in America and all over the world to live a healthy, confident lifestyle, and to not be put down by internal and external standards. Her art contributes to society by empowering women, while also expressing that women should accept and feel comfortable in their skin.

For my gap contribution, I will begin a new article for Lee Price.

Lee Price is an American Contemporary Figurative Realist Painter. She grew up in New York and attended art school in Philadelphia, Pennsylvania at the Moore College of Art and Design, where her focus was in figurative art. Early in her career, Price experimented with oil painting and would later develop a pattern for painting intimate moments of women’s lives. To further develop her art skills, Price was involved in several years of private study through the New York Academy of Art. For over 20 years, her primary focus is painting women and food as well as figures in environments. She currently lives in California.

There are two themes Price represents in her works: one being on the relationship between women and food, the other being on the discussion of compulsive behavior. She generally paints at an aerial perspective to emphasize an out of body experience and a sense that her subject is watching what she are doing, unable to stop or control the situation.

In her most well known series, Lee uses herself as the subject for her paintings. All of her paintings evoke a sense of privacy and confinement, as you witness her eating junk food, snacks, and meals enclosed in her bedroom or bathroom. Her paintings represent a woman in her private space, most likely her home, while at the same time representing an usual place to find someone eating. Her unusual setting might emphasize food shaming, insecurities with her body and self-image, and the personal relationship between her and food. At the core, Lee Price’s paintings asks two questions: What is it that truly nourishes us and how truthful can we be about the size of our hunger?

Sources Cited:

Helenquach21 (talk) 01:29, 15 May 2015 (UTC)

Simryn Gill

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YOUR ANSWER HERE


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YOUR ANSWER HERE


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Alyssalaurenhuber (talk) 01:31, 15 May 2015 (UTC)

Lee Bul

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Lee Bul is a female South Korean artist who is fairly well known, meaning she has done many presentations, including solo exhibits, in big name museums and biennales all over the world. She even already has a Wikipedia article about her. However, the content lacks much of her background, works, and contributions to different art forms. It was especially surprising that everything about her recent awards and exhibitions after 2012 was completely missing, making the article 3 years out of date. On other (male) Korean artists’ Wikipedia pages, like Nam June Paik, they include much more detail, such as works that reference other artists. In Lee Bul’s Wikipedia article, I found that such information was missing on both her page and the architect Bruno Taut, who she directly references in her work. Furthermore, she is widely accepted as a Korean contemporary artist as well as a part performance part sculpture artist, yet some of these categories or articles do not include her! She is only included in “Contemporary sculptors” and “Installation artists”—which were overwhelmingly male artists—and not in performance art although she had performed in her pieces before (Cravings), and not in any Korean categories although she is from and is currently working in Korea. These gender and racial gaps limit the knowledge available to the public, and therefore the article does not fully encompass what Lee Bul does as an artist, and exacerbates the problem of Asian females being underrepresented in the Wikipedia community. By not even mentioning that she is part of these categories, the article essentially erases a part of her identity and her artistic career as a female Korean artist, which intersects the axes of gender and nationality.


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I would fill this gap by adding to Lee Bul’s pre-existing article. Specifically, I will add a section to the Wikipedia page covering a summary of her career in order to incorporate her other works, exhibitions, awards, references to artists.

Career

Lee Bul’s career began with sculpture and she mostly focused on political themes stemming from her experience of the transition from military dictatorship to democracy in South Korea. Her earlier works include and Cravings (1989) and Sorry for Suffering—You think I’m a puppy on a picnic? (1990), which involves Lee herself dressed up in a grotesque, soft sculpture costumes and performed outdoors and in public, urban spaces like the streets of Tokyo. These performances aimed to address Lee’s fears and uncertainty for the future of South Korea, politically and as a society.

Her later works continue to reflect these concerns, as shown with Monster Pink (1998) and Monster Black (1998). The sculptures are bodily forms of a single color with what appear to be roots, tentacles, and entrails sprouting from all over the body. Also, it is not difficult to see some resemblance to Yayoi Kusama’s phallus-covered sculptures. Around the same time, Lee also started her “Cyborg” series, which she became best known for. These sculptures were life-sized figures that united the female body with robotic mechanical parts, creating a sci-fi-esque fantasy girls. These futuristic girls were highly sexualized with thin waists and defined hips and breast plates. All her cyborgs were decapitated and missing arms and legs, resembling Greek statues.

Lee’s career started gaining a lot of attention with her Live Forever series (2001). The installation features white futuristic pods that viewers can go into the capsule and inside will be almost complete silence except a video playing on a screen. Lee has explained that the capsule embodies the desire for immortality and once inside, viewers can experience the feeling of a place where “time and location are in limbo.”

In 2014, she received the Noon Award from the 10th Gwangju Biennale. Lee currently resides in Seoul, Korea, where she continues to work on contemporary installation art.


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 * Farquharson, Alex. “Lee Bul.” Frieze. Issue 45: March-April, 1999. Web. 11 May 2015. http://www.frieze.com/issue/review/lee_bul/
 * Goodman, Jonathan. “Lee Bul.” The Brooklyn Rail. 15 July 2014. Web. 13 May 2015. http://www.brooklynrail.org/2014/07/artseen/lee-bul
 * “Lee Bul's Investigations of 20th Century Utopian Democracy.” Mori Art Museum. 2012. Web. 13 May 2015. http://arttattler.com/archiveleebul.html
 * Murray, Soraya. "Cybernated Aesthetics: Lee Bul And The Body Transfigured." PAJ: A Journal Of Performance & Art 30.89 (2008): 38-50. Academic Search Complete. Web. 12 May 2015.
 * Wenny Teo. “Lee Bul.” ArtReview. 12 Sept. 2014. Web. 11 May 2015. http://artreview.com/features/aw_2014_ara_feature_lee_bul/

Ylee613 (talk) 01:42, 15 May 2015 (UTC)

Navjot Altaf

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

I began my gap analysis by looking at various feminist art mediums, such as performance art and intermedia which then led me to the Public art Wikipedia page. The topic immediately reminded me of the work we discussed in class done by Navjot Altaf, so I was hoping to see her or some of her pieces mentioned on the page. When I realized she was not included I shifted my research onto her, which is where I came across an even bigger gap. Wikipedia does not have an article dedicated to Navjot Altaf. The primary and only article related to her is of her iconic sculpture, (Untitled) Blue Lady. It’s good that one of her works has been acknowledged and has a fairly detailed Wikipedia article of its own, but there is still limitations in this knowledge. If the public only has access to information on just a single piece of an artist’s work it can construct a very incomplete portrayal of the artist. While Navjot did find success as a sculptor, she is a multimedia artist and has been recognized for various other things in her career. Overall, I’ve noticed that a majority of the coverage related to Navjot tends to only focus or report on just a specific work or project. If she had her own Wikipedia page it would provide the public with a cumulative source of knowledge that depicts a more comprehensive sense of who she is as an artist and her background. Once a Wikipedia page for her is created, it will also be easier to fill in the other gaps in which Navjot’s presence is lacking. Navjot has been a major contributor in Indian contemporary and feminist art and is considered to be an innovator in public art. A lot of her work could be discussed or referenced in order to enhance or expand various Wikipedia pages. For example, Nalpar is a art series in which Navjot collaborated with multiple Indian villages to create artistic monuments that also worked as fully functional water pumps for the community. This piece of work would be perfect to mention in the Sustainability section of the Public art Wikipedia page. Ecological, social and economic implications played a huge role in the design of these monuments and would greatly supplement this sparse section. I also noticed that the Community arts Wikipedia page’s list of key players is almost entirely made of American or European artists. Having played a huge role in community art for India and South East Asia she should be added to the list, which would simultaneously also add diversity to this Western biased article. Lastly, I noticed that Collaborative Art does not have its own page, but there is an Art section within the Collaboration Wikipedia page. Under the Art section there is a heading for Collaborative Feminist Art. Right now there is nothing under that heading, but I think a link to Navjot's article or a description of some of her collaborative projects would be a great way to start that section off. While the non-existance of a Navjot Altaf Wikipedia article was my primary concern, there seems to be larger knowledge gap at play. Non-Western and female artist are often forgotten or omitted when discussing art movements and art mediums. If Wikipedia were to acknowledge and utilize more artist such as Navjot I think they can provide much richer content and improve some of the biases and gaps within their system.


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Navjot Altaf (born 1949)(1) is an Indian contemporary multimedia artist.

Early Life and Education

Navjot Altaf was born in Meerut, Uttar Pradesh, India to an upper-middle class family. Her father worked for the Civil Defense Administration, which cause them to relocate to Dalhousie in 1963.(3) During this period Navjot did not always receive formal schooling, which allowed her time to explore her interests in art and painting. (3) In 1967 she moved to Mumbai to study at the J.J. School of Arts where she eventually received a diploma in Fine and Applied Arts in 1972.(1) From 1981 to 1982 she also studied Graphics at Garhi Studios, New Delhi.(2) During the early 1990’s Mumbai Riots in which hostilities between Hindus and Muslims escalated into violence, Navjot relocated to the district of Bastar in central India.(6) It is here where she began creating the sculptures and installation projects she is most known for.(6)

Career

Navjot began her art career as a painter and sculptor but has since expanded her work into various mediums, especially within installation art. She is recognized as a significant contemporary artist in India, (3) and as an internationally-acclaimed innovator for public art.(4) After moving away from the capital of Mumbai to the rural area of Bastar she was exposed to many marginalized and traumatized groups within Indian society.(4) Much of her work is inspired by these people's experiences and her strong ties with local communities. Navjot’s artwork is driven by her desire to “create a space of representation for those who do not appear in the mainstream narratives,”(2) and is known for its social and political consciousness. In the early 2000’s Navjot began an Interactive/Collaborative Installation series called Nalpar, in which she worked with numerous impoverished villages in central India in order to rebuild their water pumps with both a fully sustainable and artistic design.(5) As Navjot collaborated with the communities to create these on-site monuments she recruited the help of local Adivasi artists, and female villagers.(5) It was important for Navjot to consider the needs of women who would be the primary users of the water pump, as well as acknowledge the Adivasi people of the region whose voice has often been forgotten in Indian society.(2)(4) The Nalpar series is a prime example of how Navjot has contributed to the extension of the pubic art medium into new forms such as community-based and collaborative art. The project has also given Navjot the characterization of an activist and feminist artist.(4) Shortly after, Navjot began another community art project called Pila Gudis or Children Temples, in which she helped build centers so that the local youth had a space to meet and play in.(6) Since then Navjot has continued to engage in public art projects, but has also explored with other mediums such as video installation and digital photomontages.(2) However, commentary on political and social struggle and the importance of community are still major themes that remain within her artwork.(2) Navjot Altaf continues to have an active art career and currently splits her time between Bastar and Mumbai.(6)


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(1) "NAVJOT ALTAF." Talwar Gallary. Web. 12 May 2015. <http://talwargallery.com/wp-content/themes/emptiness/navjot-bio.pdf>.

(2) "Navjot Altaf." Artsome. Web. 13 May 2015. <http://artsome.co/Navjot_Altaf>.

(3) "Navjot Altaf 's Socially and Politically Loaded Work." The Arts Trust. N.p., 2011. Web. 12 May 2015. <http://www.theartstrust.com/Magazine_article.aspx?articleid=252>.

(4) "Art as Schizoanalysis: Creative Place-Making in South Asia." Deleuze and the Schizoanalysis of Visual Art. Ed. Ian Buchanan and Lorna Collins. N. pag. Web. 12 May 2015. <http://www.academia.edu/8241267/Deleuze_and_the_Schizoanalysis_of_Visual_Art>. (5) Finkelpearl, Tom. "Four Overview." What We Made: Conversations on Art and Social Cooperation. Durham: Duke UP, 2013. N. pag. Print.

(6) Kester, Grant. "NAVJOT ALTAF (Mumbai, India)." Groundworks. N.p., 09 Apr. 2014. Web. 14 May 2015.

Jhonrade (talk) 01:42, 15 May 2015 (UTC)

Pan Yuliang

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I became interested in Pan Yuliang after the brief introduction of her and her artworks in lecture. I decided to do research about Pan Yuliang to see how she made her achievement as a successful artist step by step. According to my research, I found that Pan Yuliang’s experience in Shanghai, especially her study experience at Shanghai Fine Arts School/ Shanghai Art School (上海美专), was very important for her. There she received training on western art, to be specific, oil painting. More importantly, the education ideology and the prosperous artistic atmosphere in Shanghai greatly influenced her art career and her abroad study. However, when I looked her up on Wikipedia, little is mentioned about her experience in Shanghai. Although it is unknown how much the study at Shanghai Fine Arts School influenced her artistic style, it is reasonable to say that the open coeducation system, the support for female art students to continue their study, the wide social connections at Shanghai Fine Arts School and the overall active art circle in Shanghai benefited Pan Yuliang’s professional career as an artist. In 1910s and 1920s China, perhaps Shanghai was the only city that could create such environment. Without talking about her experience in Shanghai, it is hard to imagine how she later developed her great professional reputation in both the western art circle, which was dominated by white male artists, and in China, where female artists, especially those who specialized in western oil painting, were few. Therefore, Pan Yuliang’s association with Shanghai should not be trivialized. I propose that a separate section be created to discuss Pan Yuliang’s association with Shanghai, particularly with Shanghai Fine Arts School. I suggest that this section be located between the "Early life education" section and the "Career" section.


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Pan Yuliang’s association with Shanghai

After the marriage, Pan Yuliang moved to Shanghai with her husband, Pan Zanhua (潘赞化). Pan Yuliang displayed her talent in painting soon after they settled in Shanghai. Persuaded by Chen Duxiu (陈独秀), Pan Zanhua agreed to let Yuliang pursue art. In 1918, Pan Yuliang passed the exams and was accepted into Shanghai Fine Arts School where she started to learn Western painting. Liu Haisu (刘海粟), the headmaster of Shanghai Fine Arts School, promoted coeducation, emphasizing its importance to moral and physical education. He gave a lecture in September 1920 about eliminating sex segregation in College. During Pan Yuliang’s one-month study at Shanghai Fine Arts School in 1920, she received the same professional training on western painting as male artists did. Moreover, teachers and classmates praised those women who were enthusiastic about art and pursuing a professional career as an artist. The School also supported the students to continue their study abroad and to develop professional art career. Teachers assisted in application to foreign art institutions and related affairs. With the help of the Shanghai Fine Arts School, Pan Yuliang managed to win fellowships to study in Lyon and in Paris at École Natioanle Supérieure des Beaux Arts from 1921 to 1928.

Invited by Liu Haisu, Pan Yuliang came back to Shanghai and became a teacher at Shanghai Fine Arts School in 1928. She also held a personal exhibition in Shanghai. It is possible that the position on the School’s faculty facilitated Pan Yuliang ‘s admittance into Shanghai professional art circle, for the wide connections of the School were greatly helped build teacher’s public exposure. Pan Yuliang also held five other personal exhibitions in China from 1929-1936.

After returning to Shanghai, Pan Yuliang was active in the art circle in Shanghai. Pan Yuliang, along with Li Qiujun and Zhu Qizhan, was listed as an organizer of the Yiyuan group (Art Garden Painting Research Institute) which was founded in Shanghai in 1927. The Institute organized meetings and sponsored art exhibitions and publications for artists.


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 * "Pan Yuliang's Painting of Bathing Nudity." China Daily. Xinhua, 14 Nov. 2006. Web. 11 May 2015. <http://www.chinadaily.com.cn/photo/2006-11/14/content_732470.htm>.


 * Towers, Sarah. "The Emperor’s Club." The New York Times. The New York Times, 22 Mar. 2008. Web. 15 May 2015. <http://www.nytimes.com/2008/03/23/books/review/Towers-t.html?_r=0>.


 * "爱情"救赎"了艺术--潘玉良的传奇人生 - 拍卖动态." 99艺术网. 25 July 2014. Web. 12 May 2015. <http://news.99ys.com/news/2014/0725/26_178476_1.shtml>.


 * Zhang, Jane. "The Shanghai Fine Arts College: Art Education and Modern Women Artists in the 1920s and 1930s." Modern Chinese Literature and Culture 19.1 (2007): 192-235. Web. 13 May 2015. <http://www.jstor.org/stable/41490975>.


 * Andrews, Julia, and Kuiyi Shen. "Traditionalism as a Modern Stance: The Chinese Women's Calligraphy and Painting Society." Modern Chinese Literature and Culture 11.1 (1999): 1-29. Web. 13 May 2015. <http://www.jstor.org/stable/41490789>.


 * Clark, John. "2. The Worlding of the Asian Modern." Contemporary Asian Art and Exhibitions. ANU, 2014. 67-88. Print.

Hlzycjqfriend (talk) 01:51, 15 May 2015 (UTC)

Emma Amos

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

When I was researching online, I found a blog of twenty-two female artists I should know. I was curious to read the blog and among those artists I came across Emma Amos by chance and found she did remarkable artworks! I discovered she is also known as a teacher, curator, writer, and activist, and that she did many solo and group exhibitions. However, on the Wikipedia page, it did not have a list of the exhibitions she was in, had very vague information about her early life and career, and did not include influences and struggles of being “black” female artist that lead to her successes. The page only had a few sentences of where she has been and done without much connecting those events in her life. In addition, I noticed that she was not listed in on Wikipedia’s feminist artists, even though she has been in many books and even on television! When I compare to any male artist such as Shepard Fairey on Wikipedia, his page had much more information than Emma Amos. If I compare Wikipedia’s “contents” box, Shepard Fairey had more chapters of on his page such as his personal life, critical response, and exhibitions breaking down to sub-chapters of solo and group exhibitions. While Emma Amos only have very short paragraphs of her early life, career and style of her artworks. It really disappointed me that both of them are very well known and have down many amazing and unique artworks, yet Emma Amos, female “African American” (she does not like using that term to describe herself) or Atlanta native artist, does not get the recognition she deserves.


 * 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.)

Since there are so many gaps to her page I will mostly focus on her early life and career. Before I do so, the first thing I would like to revise the first sentence that tells the viewer of the identity of Emma Amos. On Wikipedia, “Emma Amos (born 1938) is a postmodernist African-American painter and printmaker.” Instead I would like to change it to: “Emma Amos (born 1938) is a postmodernist African-American artist. However, according to her she does not use the term African-American since also part Cherokee, Irish, Norwegian, and other parts she might not know of (4). She creates artworks using printmaking, painting, and textiles with photography and collage. Not only was she was an artist she is also known to be a teacher, curator, writer, and activist (1)."

In the “Early Life” section, I would like to add about how Amos had to fight through the prejudices of being a female black artist (5). When she was eleven and her parents’s approval, she was luckily able to go to Morris Brown College in Atlanta to take a course of painting. She later entered Anitoch College to major in art and then went to Londons Central School of art (3), where she uncovered the “hidden racism, sexism, and ageism.” Amos stated that she was too young to teach art and received many criticism of her artworks(4). It was only until she entered London’s Central School of Art, where she can finally be considered as an artist—not black artist. When she was in London, she grew a huge interest in printmaking and weaving. After she graduated from London, she moved back to New York in the early 1960s and started to begin her professional life. A year later, she was working as a textile designer under by Dorothy Liebes (3), who gave her the confidence and energy to become a success in the art world of male-dominated artists (4).

As for the “Career” section, I wanted to add at least one example of her artwork and information about when she was in a craft show. When she married Robert Levine in 1965 and later had two children, India and Nicholas (1). As a stay-at-home mother, she took the advantage and found creative ways where she then developed her television program called A Show of Hands, that was produced by WGBH in Boston. In that show, she showed the public “to the richness and diversity of the American arts-crafts tradition,” for thirteen weeks (3). During the 1970s, she taught textile design at the Newark School of Fine and Industrials Arts. Most likely due to the coming of Feminist Art Movement, it brought attention to fabric art and artists and Amos prospered as a weaver. Amos continued to carry on Dorothy Liebes’ workshop and created Harmony Rug, “a noteworthy example of the artist’s ongoing affinity with this medium,” in 2002. The rug was in the shape of a R that incorporates with musical harmonies of jazz which the she favored since her Spiral years. She usually preferred using the Kente cloth, which were woven by Asanta men in West Africa, and Kanga cloth, brightly colored fabric first made by Swahili women in the 1870s. She also used Bogolanfini textiles, which were dye-impressed with protective symbols by in Holland and exported in Africa. Amos used these exotic fabrics to complement and enliven the surfaces of her prints (2).


 * 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. Klacsmann, Karen T. "Emma Amos (b. 1938)." New Georgia Encyclopedia. 06 December 2013. Web. 13 May 2015. < http://www.georgiaencyclopedia.org/articles/arts-culture/emma-amos-b-1938>. 
 * 2. Farrington, Lisa E. "Emma Amos: Art as Legacy." Woman's Art Journal. 1st ed. Vol. 28. N.p.: Old City, 2007. 3-11. Print.
 * 3. Hotton, Julia. "Emma Amos: Woman of Substance." Black American Literature Forum. 1st ed. Vol. 19. N.p.: St. Louis U, 1985. 24-25. Print.
 * 4. Schor, Mira, Emma Amos, Susan Bee, Johana Drucker, Maria Fernandez, Amelia Jones, Shirley Kaneda, Helen Molesworth, Howardena Pindell, Collier Schorr, and Faith Wilding. Art Journal. 4th ed. Vol. 58. N.p.: College Art Association, n.d. 9. Print.
 * 5. Winchester, James. "Book Reviews." The Journal of Aesthetics and Art Criticism. 4th ed. Vol. 54. N.p.: Wiley on Behalf of The American Society for Aesthetics, 1996. 391. JSTOR [JSTOR]. Web. 14 May 2015. <http://www.jstor.org.offcampus.lib.washington.edu/stable/431923?Search=yes&resultItemClick=true&searchText=emma&searchText=amos&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Demma%2Bamos%26amp%3Bacc%3Don%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3Bgroup%3Dnone&seq=3#page_scan_tab_contents>.

Iloveyoo2 (talk) 02:53, 15 May 2015 (UTC)

Natalia Iguiñiz

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

Natalia Iguiñiz is a Peruvian artist born in 1973. Her work includes paintings and photography, graphic design, and films that address issues surrounding class hierarchies and woman. During the time Fuiimori was in power; she was an up and coming artist. The government controlled mass media and there was a lot of censorship as well. This affected Natalia’s work especially because she pushed social norms. Although her art did not criticize what the government was doing, her art was still shut down because the owners of the galleries did not want problems with the state. (1)

Natalia stated in the documentary Against the Grain: An Artist’s Survival Guide to Peru, that women in Catholic culture are viewed as “puta o virgin” (“whore or virgin”) (2). Catholicism is engrained in the Peruvian culture and the work she created at the time caused tensions because the work she shared portrayed images that were very intimate. While she was creating this her art there was a great amount of violence occurring in Lima because of Fujimori. This caused several artists, including Natalia, to rebel. The violence along with the fact that she was being censored, cause her to become more involved with the public.

Natalia received a master’s in Gender and Sexuality and focused on maternity. With changes in her life, her art evolved (While she was in the process of receiving a master’s, she had two children). For the past ten years, Natalia’s work has been around maternity. She now has 3 exhibitions called “Pequeñas historias de maternidad” (small stories of maternity) (3).

She was creating art during the time Peru was experiencing a great amount of violence, but was still able to address issues that woman faced and how social hierarchies affected people. She was also able to be involved in movements that addressed the corruption occurring at the time. It is important that more people are aware of her work in the United States because she had such a big impact in Peru during a time when the country was under difficult situations. Below I had briefly talked about two of her art pieces and have also added some other categories that I hope others will contribute to.


 * 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.)

"Perra Habla" (Bitch Speaks)
“Perra Habla”(Bitch Speaks) was a piece that Iguiñiz presented in the streets of Lima in 1999 (6). In English the piece reads, “If you are walking down the street and someone yells, “whore”, they are right. You wore a skirt that was too revealing and short.” Iguiñiz received a lot of criticism in regards to this piece. Although she was trying to address the way society viewed woman, the public took great offense to this piece. Even after explaining what the intended message was, people continued to criticize her work.

Referencing woman to nonhumans is not uncommon in Peru. According to María Teresa Garzón, if people thought her work was ridiculous that is an indication that the they live in a place that has machismo ingrained (5). Women activist got involved and expressed their outrage they felt (1). One woman expressed her anger because she could not believe someone would go out to the streets and refer to woman is such a way. There was a great tension with this poster, but that did not stop her from continuing to produce art.

"La Otra" (The other)
“La Otra”(The Other One) was created in 2001 (6). Iguiñiz tries to address the issues around class this the series of photographs. In these images, the domestic workers are standing next to their employers. The ways one can tell them apart is by paying closer attention to what they are wearing and even how they are standing (4). The domestic woman tend to have a darker complexion as well. She received criticism because she also used her domestic worker, Charro, in one of the shots. Charro was hesitant, but eventually convinced to be a part of this exhibition. In the shot where Charro appears, Natalia is not in the shot. Instead, another worker of hers stands next to Charro. Her domestic worker said that she is content with her job, but that she imagined a life where she would attend school and get a higher education (1). Natalia claims that she feels sadness because Charro does not have the same opportunities as she does.


 * 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.) Against the Grain: An Artist’s Survival Guide to Peru. Dir. Ann Kaneko. 2008. DVD.


 * 2.) GÓMEZ-BARRIS, MACARENA. "E7.2 Review Essay - Against the Grain: Cultural Politics After Peru's Troubled Times." N.p., n.d. Web. 14 May 2015.


 * 3.)Hare, Andrés. "Natalia IguiÃ±iz: "Para Los Momentos Kodak EstÃ¡ La Publicidad"" La Mula. N.p., 03 Mar. 2015. Web. 14 May 2015.


 * 4.)Alonso, Rodrigo. "Logbook of a Distant Observer. On Some Works in Via Satelite."N.p., n.d. Web. 13 May 2015.


 * 5.)Garzón, María Teresa. "Si Te Dicen Perra… Tienen Razón." [esferapública]. [esferapública], 16 Jan. 2012. Web. 14 May 2015.


 * 6.)"CIUDADANIASX." Natalia Iguíñiz Boggio (Lima, 1973) -. N.p., n.d. Web. 14 May 2015.

Yaneli S (talk) 03:08, 15 May 2015 (UTC)

Susie J. Lee

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

As I was searching for an women artist to focus on, I quickly decided that I want to focus my research on a local Seattle artist. Someone whose work really stands out to me as being unique in multiple ways, and has an intriguing story behind their work. That’s when I knew that Susie J. Lee would be perfect for my focus. Starting on her personal website(1) and an article written about her latest piece in The Stranger(2), I quickly found out that she doesn't have her own Wikipedia page, and none of her work is mentioned anywhere. Lee is a visual artist and the CEO of Siren, her work merges intimacy and connection together through technology, across many platforms(1). Lee’s recent project is a feminist dating app called Siren(3). It’s an interactive public art about sex, power, and meeting people, while empowering women’s interactions with men by giving them full control and privacy online(2,4). She’s an artist that will take anything and use it as her medium to portray her art and ideas through growing technology. Lee sees Siren as a collaborative sculpture, designed and shaped by her, while continuously being added onto and expanded by the users of the app. Lee has a wide background in varying visual art styles and techniques, from live performances to stills and sculptures. She has also earned many awards and has had her work displayed world wide. While continuously experimenting with new mediums, she has also co-curated a programming series exhibit at the University of Washington, in conjunction with the Seattle Art Museum’s exhibition, Elles: Women Artists of the Centre Pompidou, Paris(1). Through all of these evidence of her hard work, I think it is clear to see that she deserves to have recognition for all her hard work and dedication to push boundaries and experiment with new ideas. The Wikipedia gap that I have identified greatly limits our access to fast and accurate knowledge on the artist and founder/CEO behind this revolutionary feminist app. Not only is a page for Lee and Siren missing, but Siren is also not mentioned on the online dating service page or feminist art page. By adding Susie Lee to Wikipedia, a great amount of attention and appreciation will be given to her art work and expanding feminist actions.


 * 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.)

In order to fill in this large gap, I would create a Wikipedia page for Susie J. Lee and also a page for her feminist dating site, Siren. These two pages would be linked together under her career section, where many of her large pieces of work will also be expanded on.

Susie J. Lee is a Korean-American visual feminist artist and CEO/co-founder of Siren. She attended Yale University, receiving a BS in Molecular Biophysics and Biochemistry, then receiving her masters in Science Education at Columbia University. Later she then changed paths and continued her education at the University of Washington, where she earned her Master’s in Fine Arts(1). Lee currently lives and works in Seattle. Her work focuses on using technology to amplify connections through her varying forms of artworks and mediums. Through out the years she has earned many awards and titles of recognition. Her work has been commissioned and displayed, in both the U.S. and abroad, at many notable museums and exhibitions(1).

Some of her past works include sculptures, performances, installations, and social orchestrations. Her latest piece is a feminist mobile dating app called Siren. Lee brought together her art and entrepreneurship skills to create a new frontier in online dating for women(4). Her app was created by women for women, putting the women in control of who can see their profile(5). Each person builds their profile based on responses to daily questions, initiating creativity and depth to each person, going beyond other sites requirement of just their picture and short biography(3). As the world is growing and expanding in many ways, it is hard to miss the strong role that technology plays in everyone's lives. Lee has taken that advancement in technology and incorporated it into her artwork. Everything from the name of the app that shes chosen, to the opening screen that shows a drop of paint in water that begins to form a letter S, and even the male voice siren calls used in the app are controversial and artistic(2). She is not only changing the world of art and technology, but also challenging many gender and societal roles and boundaries by placing women in the driver’s seat(5).


 * 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) “CV.” SUSIE J. LEE. N.p., n.d. Web. 15 May 2015. <http://www.susiejlee.com/page-cv/>
 * (2) “Artist Makes a Feminist Dating App And Calls It Siren.” The Stranger. N.p., n.d. Web. 15 May 2015. <http://www.thestranger.com/seattle/artist-makes-a-feminist-dating-app-and-calls-it-siren/content?oid=20548215>
 * (3) “What Is Siren?” SIREN. N.p., n.d. Web. 15 May 2015. <http://www.siren.mobi/what-is-siren/>
 * (4) Lee, Susie J. "Introducing Siren." The Project Room. N.p., 10 Mar. 2014. Web. 14 May 2015. <http://www.projectroomseattle.org/programs-content/2014/3/introducing-siren>.
 * (5) LeTrent, Sarah. "Siren Dating App Lets Women Call the Shots - CNN.com."CNN. Cable News Network, 2 Jan. 2015. Web. 15 May 2015. <http://www.cnn.com/2014/08/19/living/siren-dating-app-for-women-relate/>.

Imankhanc (talk) 03:09, 15 May 2015 (UTC)

Tatyana Fazlalizadeh

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

When I searched Wikipedia for Tatyana Fazlalizadeh I found a very brief page describing the bare minimum information about Tatyana and her work. There was hardly any information about her early life and her career was summarized in just a few sentences. The article hardly mentioned details of her campaign “Stop Telling Women to Smile”, which has now gone international. There was no mention of how successful Tatyana’s campaign has gone or how influential she has been to women across the globe. Tatyana’s wiki page contained less than 20 sentences; however, when looking at similar street artists who are male the story changes. For example, when looking at the wiki page for a street artist names Banksy it is clear how much detail went into it. Banksy’s page includes sections on his career, identity, notable awards, techniques, and political and social themes; all of which are significantly long. Where are these sections for Tatyana? Tatyana techniques are similar to Banksy, why not mention them? Tatyana’s art is also based off social and political themes, but are hardly mentioned on her wiki page. The majority of well-known street artist are male, and I believe this is because female street artist are not being written about as much as their male counterparts. People are lacking the knowledge of great artists such as Tatyana and many others simply because the information on them is so scarce and scattered.


 * 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.)

Original: https://en.wikipedia.org/wiki/Tatyana_Fazlalizadeh

Additional information:

Since Ms. Fazlalizadeh started her project, “Stop Telling Women to Smile”, in 2012 her campaign has spread across the country and is now international. Ms. Fazlalizadeh began her project in Brooklyn with the idea of describing what street harassment was like in different areas of living. For her project Ms. Fazlalizadeh asked women what they wanted to say to men that feel the need to harass women on the streets, she then took pictures of each woman. After the interview Ms. Fazlalizadeh drew each woman’s portrait with a pencil and placed their answers at the bottom of the poster, she then wheat glued the posters over various parts of the city. Since her start in Brooklyn Tatyana has taken her project to the streets of Philadelphia, Washington D.C., Boston, Chicago, Los Angeles, San Francisco, and Atlanta. Tatyana has also gained institutional recognition, giving talks at universities such Wilfrid Laurier University, being displayed in Detroit at the Charles H. Wright Museum of African American History , and had an exhibit dedicated to her at the Betti Ono Gallery in Oakland. Though Tatyana’s current project focuses on sexual harassment she advocates for many other social and political issues, such as her previous project where she focuses on gun violence on young black men, one of her most famous oil paintings was a portrait of Michael Brown. Tatyana believes transforming feelings into art is a great way to spark a movement. Since “Stop Telling Women to Smile” swept across the nation it has now gone global with its first international project in Mexico City; in addition, Tatyana has women from South Africa, Johannesburg, Cape Town, Brazil, and India writing to her in hopes she will take her project to their areas. With Ms. Fazlalizadeh project gaining such notability she has earned a spot on Forbe’s list of 30 Under 30 for art and style.


 * 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.)

Simryn Gill
;Document the gap you found, describes how you identified it, and analyze its impact on knowledge. I discovered the work of Simryn Gill when browsing the archives of past student projects. I quickly fell in love with her series A Small Town at the Turn of the Century, a collection of photos in which the identities of the subjects were obscured by fruit. I was intrigued by the work and decided that I wanted to learn more about the artist. However, when I searched her name on Wikipedia I soon discovered that there was no page covering Gill’s work nor her personal history. This is not too say she wasn’t referenced, and in fact, Gill’s name was retrieved in results for 7 different pages. Each of these results mentioned Gill in light of an exhibition, festival, or gallery but failed to link to further information about her as an artist. The idea that Simryn Gill’s work was considered prominent enough to repeatedly reference in relation to other factors but not enough to constitute an individual article was upsetting to me. It seemed obvious in my mind that an artist who was recognized for their relevancy to important art exhibitions would be deemed worthy of their own biographical feature.

Wikipedia’s gap in covering the life and work of Simryn Gill is not based only in the lack of a personal page, but also in other pages that the information about her could contribute to. For instance, under the category Women Photographers, Gill is not mentioned under the subcategories Singapore (the country of her birth) nor Australia (her current country of residence). Ironically, Wikipedia separates artists known as “women photographers” from “photographers” and then again into categories of nationality, an idea that Gill’s body of work protests. For example, A Small Town at the Turn of the Century as a series captures individuals but obscures their identity in a way that prevents classification through race, gender, sexuality, etc. By slowing the immediate recognition of these traits, Gill puts focus on the idea that they do not define an individual. However, by Wikipedia’s standards they do, as the site continues to separate and limit the categories an artist such as Gill could be placed into. Perhaps a photographer such as Gill has a tremendous impact on photography as a whole, but by creating this divisions the knowledge about their work and influence is limited.

Simryn Gill (born in Singapore in 1959) is a postcolonial artist currently based in Sydney, Australia. Much of her early career and education are a mystery, as Gill is “concerned it might lead to a misunderstanding of her work”.
 * 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.)

Gill has achieved international recognition as her photographs were featured in several galleries around the world. First participating in the Venice Biennale of 1999, Gill has since shown at other prominent international biennales including Sydney (2002 and 2008), Sao Paulo (2004) Singapore (2006), and Germany (2007). In 2006, Gill’s work was shown in a solo exhibition at both the Tate Modern in London and the Smithsonian Institution in Washington DC(4).

Much of Gill’s photographic art involves the use of multiple methods of creation, often through collection of found materials and objects as subject matter(5). In her series Forest (1996-1998), Gill focused on the rearrangement of nature though the inclusion of old book pages in the trunks of trees and in the dirt(3). Each photograph involves a paper structure created from the pages that is used to mirror the forms of the natural subject.

Simryn Gill has also experimented outside of photography, with an exhibit in the Heide Museum of Art. Paper Boats (2010) provided museum guests with encyclopedia pages to make their own origami ships to add to the installation piece. Similarly, Garland (2006) allowed guests to interact with some of Gill’s found items from visits to Singapore and Malaysia(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.)''' "Simryn Gill B. 1959, Singapore." Collection Online. Guggenheim New York. Web. 15 May 2015. <http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/11680>.

Kelly, John. "Being There Simryn Gill @ the Venice Biennale." Art Monthly Australia 1 July 2013: 9-13. Print.

Cass, Naomi. How We Are in the World: The Photography of Simryn Gill. Fitzroy: Centre For Contemporary Photography, 2009. 1-9. Print.


 * FOURTH SOURCE
 * FIFTH SOURCE

Norma Alacron

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

The feminist writer that I saw had gaps in their Wikipedia page was Norma Alacron. I identified her through the links posted to help us search under "feminist literature". She is a feminist cultural and literary critic. I juxtaposed Norma Alacron and other male cultural and literary critics that were similar to her in terms of education and how well renowned they are. I found that through the articles I looked at( Richard_Hoggart, Paul_Willis ) Alacron was missing the depth in information that these other Wikipedia pages had about their career history/ background and life time works. According to an article published in “the guardian” on the gender bias in literary critical works, males still receive more attention than do women critics. This information gap about Alacrons background, career influences, and life-time works is important to fill in more because it ties into Alacrons Mexican heritage and ethnicity. A significant amount of Alacrons works involved the Mexican- American politics, as well as other Latino literary works that she critiqued. She only has one of her works "This Bridge Called My Back" elaborated on her Wikipedia page. Knowing more in depth information about her history in terms of her culture and peronsal beliefs would help us understand her passion for her work and it would help the reader appreciate her better as a literary critic.


 * 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.)

I do not wish to revise or change anything on Norma Alarcons Wikipedia page but I would like to add to it more of her works she has written and contributed to. The original page has a significant amount of information about her educational background however it only glosses over or only lists some of her original works and works she has collaborated on. I would like to add more about her collaboration on “Between Woman and Nation” (1999). Alacron is responsible for an article titled “Chicana feminism: In the Tracks of ‘The’ Native Woman” (1) In this article she speaks of critical consciousness of Chicana feminism. She speaks of the history the political implications that coining that term “Chicano/a” brought about during the “Chicano movement”. She doesn’t directly state it but she speaks of Intersectionality by mentioning in her work that Chicana literary writers up until recently had been underrepresented in the Chicano movement in the US through the exclusion of raced ethnic women and the social and political classes they held. Another one of her works that she published and that was very important to her was Third woman in which she published "The sexuality of Latinas" (2) and "Texas and More" (3). Although already mentioned on her Wikipedia page, "This Bridge Called My Back" (4) it only talks about her relationship with the work. It doesn't mention the significance of her contribution nor a critical analysis of her response and position of the book. Norma Alarcon is highly cited in many other feminists works and has contributed with other Latina feminists in works such as "Telling to Live: Latina Feminist Testimonios". (5)


 * 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) Alarcon, Norma. "Chicana Feminism: In the Tracks of ‘The’ Native Woman.” Between Woman and Nation. Vol. B45(1999): 63-71. Print. (2) Alarcon, Norma. "The Sexuality of Latinas" Third Woman. Vol IV (1989). Print (3) Alarcon, Norma. "Texas and more". Third Woman. Vol 3-4 (1986-89). Print (4) Alarcon, Norma. "Writtings by Radical Women of Color". This Bridge Called My Back. Vol T44 (1981). Print. (5) Acevedo, Luz A. Telling to Live: Latina Feminist Testimonios. Durham: Duke University Press, 2001. Print.


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

I had seen Sigalit Landau’s Barbed Hula being shown at a museum when I was younger and it recently has influenced some of my own work. I was curious about looking into her Wikipedia article to see how thorough and complete it was. Upon reviewing her page I identified a severe lack of important information and gaps in knowledge. I want to focus my edit on the biography section of Sigalit Landau’s Wikipedia page because the section is only made up of two sentences. There is no mention of her parents’ nationalities or their experience during the Holocaust, which went on to influence Landau and her work significantly. No mention that she’s Jewish and more could be said about how her multilingual and multicultural upbringing influenced her perspective and artwork. The gap in information on Landau’s page perpetuates ignorance about Israeli history, disputed borders between Israel and Palestine, and conflict in the Middle East in general. Understanding the history of the nation she grew up in is crucial for understanding her art and avoid simplifying her art by lacking an intersectional viewpoint. The article also contains some false information about one of her pieces, which I would like to edit that will improve the readers understanding of the piece.


 * 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.)

Sigalit was born in Jerusalem in 1969 and was the first of three children. Her mother was born in London to Viennese refugees and her father was born in what is now called Romania and grew up in an orphanage in pre-state Isreal. Both of her parents were greatly affected by World War II and the Holocaust long before they were married. This violent history significantly affects Landau’s work. Landau grew up bilingual and multicultural, living briefly in Philadelphia, 1974-75, and in London, 1978-79. Art was encouraged in Landau’s household and she graduated high school from Rubin Academy of Music and Dance. After high school Landau was required to serve in the military and after serving she immediately entered the Jerusalem’s renowned Bezalel Academy of Art and Design, which she attended from 1990-1995. She studied abroad for a semester during her schooling in New York at Copper Union School of Art and Design. Within a few years of graduating, Landau represented Israel in the Venice International Art Biennial, in 1997. After graduation she lived in London for several years before returning to Israel. Currently, she resides in Tel Aviv with her 7-year-old daughter, Imree. Landau’s most prominent works are mixed medium, including sculpture, performances, video and installations.

Original Content on ‘Barbed Hula”: One is Barbed Hula (2000), showing a nude female body (the artist’s) rolling on and around her belly a hula hoop made of barbed wire, which injures the skin with every move.

Edited Content on ‘Barbed Hula”: One of Landau’s works, Barbed Hula (2000), shows nude female body (Sigalit Landau’s) twirling a hula hoop made of barbed wire around her waist. Most of the spikes on the hoop are facing outwards and not actually coming in contact with her skin, merely threatening to cut her.


 * 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.)




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

I had seen Sigalit Landau’s Barbed Hula being shown at a museum when I was younger and it recently has influenced some of my own work. I was curious about looking into her Wikipedia article to see how thorough and complete it was. Upon reviewing her page I identified a severe lack of important information and gaps in knowledge. I want to focus my edit on the biography section of Sigalit Landau’s Wikipedia page because the section is only made up of two sentences. There is no mention of her parents’ nationalities or their experience during the Holocaust, which went on to influence Landau and her work significantly. No mention that she’s Jewish and more could be said about how her multilingual and multicultural upbringing influenced her perspective and artwork. The gap in information on Landau’s page perpetuates ignorance about Israeli history, disputed borders between Israel and Palestine, and conflict in the Middle East in general. Understanding the history of the nation she grew up in is crucial for understanding her art and avoid simplifying her art by lacking an intersectional viewpoint. The article also contains some false information about one of her pieces, which I would like to edit that will improve the readers understanding of the piece.


 * 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.)

Biography
Sigalit was born in Jerusalem in 1969 and was the first of three children. Her mother was born in London to Viennese refugees and her father was born in what is now called Romania and grew up in an orphanage in pre-state Isreal. Both of her parents were greatly affected by World War II and the Holocaust long before they were married. This violent history significantly affects Landau’s work. Landau grew up bilingual and multicultural, living briefly in Philadelphia, 1974-75, and in London, 1978-79. Art was encouraged in Landau’s household and she graduated high school from Rubin Academy of Music and Dance. After high school Landau was required to serve in the military and after serving she immediately entered the Jerusalem’s renowned Bezalel Academy of Art and Design, which she attended from 1990-1995. She studied abroad for a semester during her schooling in New York at Copper Union School of Art and Design. Within a few years of graduating, Landau represented Israel in the Venice International Art Biennial, in 1997. After graduation she lived in London for several years before returning to Israel. Currently, she resides in Tel Aviv with her 7-year-old daughter, Imree. Landau’s most prominent works are mixed medium, including sculpture, performances, video and installations.

Original Content on ‘Barbed Hula”: One is Barbed Hula (2000), showing a nude female body (the artist’s) rolling on and around her belly a hula hoop made of barbed wire, which injures the skin with every move.

Edited Content on ‘Barbed Hula”: One of Landau’s works, Barbed Hula (2000), shows nude female body (Sigalit Landau’s) twirling a hula hoop made of barbed wire around her waist. Most of the spikes on the hoop are facing outwards and not actually coming in contact with her skin, merely threatening to cut her.


 * 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.)



Sigalit Landau

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

I had seen Sigalit Landau’s Barbed Hula being shown at a museum when I was younger and it recently has influenced some of my own work. I was curious about looking into her Wikipedia article to see how thorough and complete it was. Upon reviewing her page I identified a severe lack of important information and gaps in knowledge. I want to focus my edit on the biography section of Sigalit Landau’s Wikipedia page because the section is only made up of two sentences. There is no mention of her parents’ nationalities or their experience during the Holocaust, which went on to influence Landau and her work significantly. No mention that she’s Jewish and more could be said about how her multilingual and multicultural upbringing influenced her perspective and artwork. The gap in information on Landau’s page perpetuates ignorance about Israeli history, disputed borders between Israel and Palestine, and conflict in the Middle East in general. Understanding the history of the nation she grew up in is crucial for understanding her art and avoid simplifying her art by lacking an intersectional viewpoint. The article also contains some false information about one of her pieces, which I would like to edit that will improve the readers understanding of the piece.


 * 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.)

Sigalit was born in Jerusalem in 1969 and was the first of three children. Her mother was born in London to Viennese refugees and her father was born in what is now called Romania and grew up in an orphanage in pre-state Isreal. Both of her parents were greatly affected by World War II and the Holocaust long before they were married. This violent history significantly affects Landau’s work. Landau grew up bilingual and multicultural, living briefly in Philadelphia, 1974-75, and in London, 1978-79. Art was encouraged in Landau’s household and she graduated high school from Rubin Academy of Music and Dance. After high school Landau was required to serve in the military and after serving she immediately entered the Jerusalem’s renowned Bezalel Academy of Art and Design, which she attended from 1990-1995. She studied abroad for a semester during her schooling in New York at Copper Union School of Art and Design. Within a few years of graduating, Landau represented Israel in the Venice International Art Biennial, in 1997. After graduation she lived in London for several years before returning to Israel. Currently, she resides in Tel Aviv with her 7-year-old daughter, Imree. Landau’s most prominent works are mixed medium, including sculpture, performances, video and installations.

Original Content on ‘Barbed Hula”: One is Barbed Hula (2000), showing a nude female body (the artist’s) rolling on and around her belly a hula hoop made of barbed wire, which injures the skin with every move.

Edited Content on ‘Barbed Hula”: One of Landau’s works, Barbed Hula (2000), shows nude female body (Sigalit Landau’s) twirling a hula hoop made of barbed wire around her waist. Most of the spikes on the hoop are facing outwards and not actually coming in contact with her skin, merely threatening to cut her.


 * 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.)



Lady Pink

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

The article on feminist graffiti artist Lady Pink has most of the basic and important information about her, but is insufficient in some details about her life, notability in the graffiti world, her feminism and a list of her works. Her article, which only has a biography section, is relatively short and only has five sources. First of all, there is no mention in the article about her early life before immigrating to the United States at the age of 7 or her experiences as a first generation immigrant. Her mother was the mistress of her father, a notable architect and later senator, and was forced to leave Ecuador and immigrate illegally to the United States in Astoria and later Queens, New York with her older sister and her.(6) While attending the High School of Art and Design, she actually initially intended to be an architect like her father before discovering graffiti.(3) The article mentions her first solo show (which was by the way at the age of 21), it doesn't cover how she as a high school student, Lady Pink was already being exhibited at the age of 16 in museums with contemporaries such as Keith Harding and Jean-Michel Basquiat.(5) She was also actually expelled from the school after a school shooting at her exhibit and cursing the principal, later graduating from public school.(1) The article also fails to mention her place in the early graffiti scene of 1980s New York City and one of the first important female graffiti artists. This notability has led her to be dubbed ″The First Lady of Graffiti″ and ″The Grandmother of Graffiti″.(1)(6) Her works are also addresses several social issues such as rape, the oppression of women and gay bashing.(3) According to a recent interview with her, she claims that the police raided her residence in May 2013 and confiscated several of her possessions despite not participating in vandalizing graffiti in over 20 years and stated the police oppress artists.(4) Her husband's former duo article, Sane Smith, doesn't hyperlink to the Lady Pink article either, although the Lady Pink article hyperlinks to his article. It is important to add these details to better illustrate the complexity of her identity as a immigrant woman of color and pioneering female artist who achieved a lot even in her early years.


 * 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.)

Current:

Sandra Fabara was raised in Queens. She started her graffiti writing career in 1979 following the loss of a boyfriend who had been sent to live in Puerto Rico after he had been arrested. She exorcised her grief by tagging her boyfriend's name across New York City. Soon after she started tagging the name Lady Pink, derived from her love of historical romances, England, the Victorian period, and the aristocracy. Lady Pink studied at the High School of Art & Design in Manhattan. While a student there she was introduced to graffiti and began writing at age fifteen.[1] Within a few years LADY PINK began running with TC5 (The Cool 5) and TPA (The Public Animals) graffiti crews. Lady Pink painted New York City Subway trains from 1979 to 1985.[2] In 1980, she was included in the landmark New York show “GAS: Graffiti Art Success” at Fashion Moda, which traveled in a modified form downtown to The New Museum of Contemporary Art.

Edited:

Sandra Fabara was born out of wedlock in Ambato, Ecuador in 1964. Her mother was her father's mistress, a prominent architect and later senator, but was forced to leave him and Ecuador when she was seven and immigrate to the United States. Her mother, older sister and her settled in Astoria with some relatives before later moving to Queens, New York where she was raised.(6) Before discovering graffiti, she attended the High School of Art and Design in Manhattan initially to become an architect like her father.(3) However, after her boyfriend was sent back to Puerto Rico after being arrested, fifteen year old Fabara began her graffiti writing career in 1979, tagging her boyfriend's name across New York City subway trains.[1] She soon began to join the male dominated world of graffiti as one of the first female artists, dubbed Lady Pink to explicitly state her gender and femininity while referencing her love of historical romances, England, the Victorian period and aristocracy.(3)(6) By age 16, she was already being exhibited at museums with the likes of Keith Harding and Jean-Michel Basquiat and within a few years LADY PINK began running with TC5 (The Cool 5) and TPA (The Public Animals) graffiti crews. Lady Pink painted New York City Subway trains from 1979 to 1985.(5)[2] In 1980, she was included in the landmark New York show “GAS: Graffiti Art Success” at Fashion Moda, which traveled in a modified form downtown to The New Museum of Contemporary Art.


 * 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

1. Altman, Alexa. "Lady Pink: Graffiti's Feisty First Lady." QueensCouriercom. Queen's Courier, 17 Sept. 2012. Web. 14 May 2015.

2. Colucci, Emily. "First Lady of NY Graffiti Traces Her Evolution." Hyperallergic RSS. Hyperallergic, 02 Dec. 2011. Web. 14 May 2015.

3. Maes, Nancy. "Lady Pink Was Here." Tribunedigital-chicagotribune. Chicago Tribune, 20 Sept. 1993. Web. 14 May 2015.

4. Maughan, Tim. "Tim Maughan Books." » “This Is What the Police Do. They Oppress Artists” – Interview with Lady Pink. Tim Maughan Books, 17 Feb. 2014. Web. 14 May 2015.

5. Metz, Cathy. "Noteworthy Graduates: Lady Pink, Graffiti & Fine Artist." Noteworthy Graduates: Lady Pink, Graffiti & Fine Artist. United Federation of Teachers, 19 Dec. 2013. Web. 14 May 2015.

6. Ruhling, Nancy. "Astoria Characters: The 'Pink' Painter." The Huffington Post. TheHuffingtonPost.com, 04 Mar. 2013. Web. 14 May 2015.

Elizabeth Murray
Part One: Documenting the Gap One look at abstract artist Elizabeth Murray’s Wikipedia page is enough to reveal a sad fact: her 40-year career, which pushed modernist abstraction in an entirely new direction from the 1960s until her death in 2007 (2), is severely underrepresented within the online encyclopedia. The single entry about her life and work provides only the most basic information: a list of exhibits featuring her paintings; sparse, token-gesture explanations about the work itself; and a bit about the artists she drew inspiration from -- primarily Cezanne, Robert Rauschenberg, and Jasper Johns (all male artists with significantly larger Wikipedia pages). In fact, there seems to be more written about her death and the people who attended a “Praise Day” in her honor than there is about the art she created, which seems a little confusing to me, not to mention detrimental to the feminist art movement as a whole. In order for this Wikipedia page to improve, several gaps must be filled. There needs to be more about her early life (which included a period of homelessness), her Neo-Expressionist art (what it was and why it was impactful), how her art can be considered feminist, and separate sections added for information on her exhibitions and the “awards and honors” she has received (such as the MacArthur foundation’s “genius” grant). I suggest that these be added as new categories (and that the existing information be added to and redistributed within these categories). In addition, her name should be added to companion pages, such as those for feminist art, modern art, abstract expressionism, and perhaps even to the Museum of Modern Art page. I initially found these gaps through the research I conducted, which revealed Elizabeth Murray to be a far more significant player in the modern/contemporary art movement than her Wikipedia page would suggest. Because she cannot be found within pages dealing with larger topics (like abstract expressionism), she, like many female artists, has been marginalized. These gaps structure knowledge in a particular way by limiting the public’s understanding of (and access to) Murray’s art. Her contribution to the art world has thus been deemed insignificant. Within the art world (and the United States as a whole), white, straight, American males coming from a higher socioeconomic background tend to be the creators of knowledge and those who decide what is important, and what is not. Many factors play into who is considered significant (as an intersectional analysis would reveal), such as gender, sexuality, race, class, and nationality. I think this fact plays a big part in leaving Elizabeth Murray somewhat forgotten on Wikipedia.

Part Two: Filling the Gap Working from the five sources I found, I would suggest adding several significant points within the missing categories I identified. For the sake of clarity, I will write the sections down again and briefly summarize information that I think needs to be placed in each category (in addition to what is already listed on the Wikipedia page). There is almost nothing there now, so this information represents the beginning of what I think should be added.

Early Life and Education: Murray’s childhood was often unsettled. She was born to Irish-Catholic parents in Chicago in 1940, and her mother was an artist who stayed at home painting porcelain miniatures while her father worked as a lawyer (until his frequent nervous breakdowns prevented him from continuing his career) (1). Early on, she was heavily exposed to a variety of cartoons (which her whole family liked to watch), and that influenced her later work significantly (1). Her early art included the drawing of cartoon-versions of family and friends, as well as animals and “sex drawings” which she sold to friends for a quarter a piece in the fifth grade (1). Her initial goal as a child was to become a cartoonist (1). As time went on, after graduating from the School of the Art Institute of Chicago (2), she went on to become one of the most dynamic painters of the early 20th century (1).

Painting: Murray’s art represents the meeting of abstract expressionism, modernist pop art, and cartoon-drawing cubism. She dealt with themes of domestic life and relationships, as well as the idea of painting itself (2). I think it’s important to add that she was very inspired by Willem de Kooning who taught her “a freedom, an openness, a way into a whole new realm of what a painting could be” (1). She had a weird humor and “an erotic sense of color and shape,” as written in her New York Times obituary (3), as well as a unique use of space and the ability to deconstruct objects through the creation of odd physical forms (5). Murray works are highly inventive, evoking feeling and human characteristics (4). Here, the Wikipedia page should also discuss her oil paintings (such as A Mirror, Shrinking Lines Embracing in the Center, New York at Dawn, etc.) (1). Adding images would be helpful.

Art and Feminism: Murray’s feminism, which was originally self-contained and less concerned about the construction of the canon, shifted as time went on (1). She expressed this through exhibition; she worked to increase female representation within museums, believing female art would speak for itself (1). She also participated in her own Artist’s Choice exhibit at MoMA titled “Modern Women at The Museum of Modern Art” in 1995 (1). Past Exhibitions: Move the majority of the description from the Wikipedia page here! (This is one of the only things adequately covered on Wikipedia).

FIVE SOURCES: Original Wikipedia Article Used: https://en.wikipedia.org/wiki/Elizabeth_Murray_(artist)
 * (1) Storr, Robert. 2005. Elizabeth Murray. Museum of Modern Art, New York. 2005. (BOOK)
 * (2) Smith, Roberta (13 August 2007). "Elizabeth Murray, 66, Artist of Vivid Forms, Dies". The New York Times. Retrieved 14 May 2015.
 * (3) Klinkenborg, Verlyn (14 August 2007). “Elizabeth Murray”. The New York Times. Retrieved 14 May 2015. http://www.nytimes.com/2007/08/14/opinion/14tue4.html
 * (4) MoMA (official website), 2009. Oxford University Press. http://www.moma.org/collection/artist.php?artist_id=4185
 * (5) Robinson, C. "Elizabeth Murray." Art Journal 50.1 (1991): 57. MAS Ultra - School Edition. Web. 15 May 2015.

Tina Modottis

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

I found a huge gap in the page of Tina Modottis, a feminist photographer. In her "Early Life" section. There is only two sentences stating her full name, her birth date, and the time she moved to the U.S. However, there was no other information regarding her childhood, social class, nor religion or political views in which she grew up under. I wanted to know more about her early life to understand her inspiration as an activist during her years in Mexico. Intersectionality is a big concept I learned in class. I realized that by understanding that concept for each artist, I am able to understand their art and their feminist contribution. As a result, I realized that her page in Wikipedia is lacking a lot of information to analyze her intersections. I personally wanted to know those details to understand her inspiration for her photojournalism during her years in Mexico, which is her most feminist artworks. I looked into other sources and most of them had some sort of gap as well. However, I did find  five major resources that  together drew a better picture of her early life. Indeed, as a read her story I understood her feminist actions during her short life. As a result, I believe everyone should have the same information in Wikipedia to have a better understanding of her famous photography and photojournalism.


 * 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.)

Existing Content: Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy.[1] In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California.[1]

Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother was Assunta Mondini, a tailor by profession, and her father was Guiseppe Modotty, a machinist by trade and a socialist. Both of her parents struggled to support the growing Modotti family during a time of economic hard times in Italy. As a result, the Modottis migrated to Austria in the Summer of 1897, and lived there for about eight years. During those year, her father participated in socialist demonstrations and attended meetings, and among Tina's most vivid childhood memories was the traditional May Day demonstration: a sea of heads and red flags, seen from her father's shoulders.

In Austria, three more children were born and one, Ernesto Modotti, died at the age of four from meningitis or tuberculosis. In 1905, the Modottis returned to Udine where Tina's seventh and last sibling was born. The same year, with nine mouths to be fed, Guiseppe Modotty left Italy in search of the American Dream. In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California.


 * 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

Navjot Altaf

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

Analysis Gap

I originally was fascinated with Navjot Altaf when her art was introduced in class one day; her work was different from the other artist because she captured the daily lives of regular citizens in the community. In a way, her art enhanced the experience between the human senses: desired and undesired touch.[1] Her intention was to break down the walls of reality senses and direct our feelings toward our nurture sense, the sub-verbal experience. Altaf does not have a wiki page when I tried to search for her thus I though making a page for her would be very helpful. She is an activist and feminist; it challenged her to think about the definitional question of the difference of anthropological and identification of being an activist and feminist. The social division between constitutive and patriarchal society influence a lot of Altaf’s artwork later on in life. She was also an enthusiast of Marxism and the idea of how shall society divide and design the collaboration between Alfaf’s work and her colleague’s work especially strong figures like Shanti Bai, Ganga Devi Butt.


 * 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.)

Biography and artworks

Altaf is one of the artists whose mainly focus on the participation aspect of all her work; she wanted her audience to be engaged in her art and feel a sense of experience that comes from the heart. She was born in 1949 in the city of Meerut, India; growing up she has always been interested in realism art (subject of art that is as straightforward as possible without following any kind of artist rules http://www.artcyclopedia.com/history/realism.html). She studied art in Bombay in 1970s, met her husband and both joined an Independent Left Student Organization. Through the women’s movement in 1980s, Navjot was able to work on her modest act of displacement and engagement with respect to women perspective. She took the responsibility to identify herself as a woman and artist to reevaluate the relationship of the role of men in the communities socially and governmentally. In 1972, Altaf got her diploma from the Sir J.J school of Art. She has several solo exhibitions such as the installation show with majority of her work; paintings, screen printers, films and music. She also used her work to promote feminism through various pieces such as the touch IV, touch and Lachmi Jagger; all of these pieces consist of a women image whether it is through music or senses. It’s empowering to see that her works are realistic and never fails to capture moments in the every day life in the community. Some of her works are included in several exhibitions such as:

-Lacuna in Testimony at Frost Art Museum, Florida

-Public Places, Private spaces, The Newark Museum, New Jersey

-Zones of Contact, XV Sydney Biennale, Australia


 * 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.)

-http://www.contemporaryindianart.com/navjot_altaf.htm

-http://talwargallery.com/navjottouch-pr/

-http://www.navjotaltaf.com/jagar.html

-Navjot Altaf: Holding the Ground

-http://artpulsemagazine.com/navjot-altaf-lacuna-in-testimony

second submission

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

I originally was fascinated with Navjot Altaf when her art was introduced in class one day; her work was different from the other artist because she captured the daily lives of regular citizens in the community. In a way, her art enhanced the experience between the human senses: desired and undesired touch. Her intention was to break down the walls of reality senses and direct our feelings toward our nurture sense, the sub-verbal experience. Altaf does not have a wiki page when I tried to search for her thus I though making a page for her would be very helpful. She is an activist and feminist; it challenged her to think about the definitional question of the difference of anthropological and identification of being an activist and feminist. The social division between constitutive and patriarchal society influence a lot of Altaf’s artwork later on in life. She was also an enthusiast of Marxism and the idea of how shall society divide and design the collaboration between Alfaf’s work and her colleague’s work especially strong figures like Shanti Bai, Ganga Devi Butt.


 * 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.)

Altaf is one of the artists whose mainly focus on the participation aspect of all her work; she wanted her audience to be engaged in her art and feel a sense of experience that comes from the heart. She was born in 1949 in the city of Meerut, India; growing up she has always been interested in realism art (subject of art that is as straightforward as possible without following any kind of artist rules). She studied art in Bombay in 1970s, met her husband and both joined an Independent Left Student Organization. Through the women’s movement in 1980s, Navjot was able to work on her modest act of displacement and engagement with respect to women perspective. She took the responsibility to identify herself as a woman and artist to reevaluate the relationship of the role of men in the communities socially and governmentally. In 1972, Altaf got her diploma from the Sir J.J school of Art. She has several solo exhibitions such as the installation show with majority of her work; paintings, screen printers, films and music. She also used her work to promote feminism through various pieces such as the touch IV, touch and Lachmi Jagger; all of these pieces consist of a women image whether it is through music or senses. It’s empowering to see that her works are realistic and never fails to capture moments in the every day life in the community. Some of her works are included in several exhibitions such as: -Lacuna in Testimony at Frost Art Museum, Florida -Public Places, Private spaces, The Newark Museum, New Jersey -Zones of Contact, XV Sydney Biennale, Australia


 * 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.)

-http://www.contemporaryindianart.com/navjot_altaf.htm

-http://talwargallery.com/navjottouch-pr/

-http://www.navjotaltaf.com/jagar.html

Navjot Altaf: Holding the Ground

http://artpulsemagazine.com/navjot-altaf-lacuna-in-testimony

Israeli feminist artist Miriam Sharon

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

The Wikipedia article entitled “Visual arts in Israel” is comprehensive in its coverage of the sociocultural circumstances that motivated various artistic movements. While there is substantial information available that pertains to male artists, the article underrepresents Israeli women artists. Specifically, there is a gap in the information published on Wikipedia with respect to the 20th century Israeli feminist artist Miriam Sharon. Fundamental to the 20th century feminist art movement in Israel, Sharon inspired greater interest in feminist art through her maintained dedication despite a cultural climate that obscured the experiences of women. Sharon played a crucial role in the development of an Israeli feminist art movement, and maintained commitment despite her artwork obscured due to exclusion from circulation. The article, however, does not mention Miriam Sharon nor her contributions to Israeli feminist art. More problematic is that the article states that the employment of the natural environment for performances of gender relations. Sharon produced art that utilized nature for gender and identity performance during the 1970s and 1980s that were suppressed by the dominant culture. Miriam Sharon continued to create artwork despite its marginalization, and this persistent inspired greater participation in the movement. This gap functions to obscure the presence of an instrumental Israeli feminist artist, and more generally, the involvement of women in art. Sharon identifies as neither Ashkenazi nor Mizrahi due to her split ethnicity, and much of her artwork attends to identity construction and race relations within Israel. The suppression of Sharon’s art may be linked to the pervasive marginalization of the Mizrahi population and suppression of their experiences. This is directly tied to the politics of knowledge production and distribution. The exclusion of Miriam Sharon from Wikipedia, and, more broadly, the relative absence of women artists from the article, serves to regulate the circulation of knowledge. The incorporation of almost entirely male artists, even within the sub-topic of feminist art, obscures women artists, their influence on the feminist art movement in Israel, their contributions to the arts in general, and reifies dominant ideologies while failing to recognize variable perspectives. The absence of information available hinders the distribution of knowledge to geographically and culturally disconnected regions. Integration into Wikipedia would enable greater circulation across national lines and contribute to the global collective of feminist artists. The gap in the information available on Israeli feminist artists serves to ensure western art--created by men and for men—is at the center, and that which depicts ideologies inconsistent with the dominant western experiences and views are kept at the periphery

The gap was identified after finding little material when searching Wikipedia for content pertaining to Israeli feminist art. After reading the contents of the Wikipedia article, it was apparent that the information regarding women artists was inadequate. Additional articles on Wikipedia were not found on Israeli feminist women artists, although the majority of the male artists included in the Wikipedia article had a page devoted exclusively to their artwork. Looking into Israeli feminist artists, Sharon seemed to influence the movement significantly—therefore, Miriam Sharon should be referenced on Wikipedia within the topic of Israeli feminist artists.


 * 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.)

Miriam Sharon seeks to empower women through art that, in variable forms of media, positions women in conversation with the social and cultural landscape in which they reside. Such a dialogue is sought through the employment of organic materials from the environment in her artistic works. Depictions of women and Sharon’s numerous self-portraits blur racial lines that structure the social hierarchy and construct Israeli identity. This merging is achieved through art that contradicts social norms and roles associated with particular identity groups. These pieces are visual expressions of Sharon’s experience simultaneously belonging to the Ashkenazi and Mizrahi classes, which effectively resulted in her exclusion from both social categories. Miriam Sharon applies her psychosomatic experiences derived from the conflation of her Mizrahi and Ashkenazi heritages in order to use art as a medium through which to critically respond to social relations, the suppression of art representing marginalized cultures, and the perspectives women and Mizrahi citizens in Israel.

While Sharon consistently responds to western art in her work, art produced in the west fails to acknowledge or respond to Israeli art. In order to challenge the relations of dominance and subordination in Israel, and in reflection of her own self-contradictory identity, Miriam Sharon confronts the issue of social identities that are constructed on the basis of culture, race, and gender. Miriam Sharon creates artwork that seeks to increase visibility of subordinated people and experiences. Contributing to the movement from the 1970s, Sharon was the only Israeli woman artist that used art to respond to gender relations and incorporate feminist ideology into her artwork.


 * 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
 * SIXTH SOURCE

Zanele Muholi

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

YOUR ANSWER HERE Comparing Zanele Muholi’s Wikipedia page to that of other famous photographers such as Ansel Adams, I found that information on the many themes and topics Muholi uses in her art are largely unmentioned on the page. I propose that the themes and topics covered in her work be discussed under a section titled Work. I also propose that her art be contextualized by mentioning the historical significance of colonialism and apartheid and western constructions of gender and sexuality that play a role in the marginalizing of LGBTI South African identities. Because Zanele Muholi’s work is only briefly mentioned and is also not contextualized in relation to its cultural and communal significance on the Wikipedia page, the importance of her work in confronting intersectional oppressions is nearly obscured. For example, the nature of Muholi’s work is mentioned briefly only in relation to black women’s sexuality, while other aspects of her work, such as the blurring of identities and the effects of class and notions of race are not discussed. The current lack of intersectional information leaves the viewer with a highly Eurocentric and non-contextualized picture of her work. Comparing Muholi’s Wikipedia page to the page on Tracey Rose, I found that Rose’s art is also explored more and that her page includes an Artist Statement section. I think an Artist Statement section should also be added on Muholi’s page because it gives voice to the actual artist. Additionally, while Muholi is noted as a visual activist, Professor Welland and I found that there is currently not a page defining visual activism. I propose that a new page be created on Visual Activism and that it include Zanele Muholi, Pushpamala N., Renée Cox, Tracey Rose and many other artists that use the body and self identit(ies) as sites for resistance. On this separate page I think the parallels between Visual Activism and Photo Performance should also be discussed with examples from various related artists. Because Visual Activism is a significant part of Muholi’s work and a term that she has helped define, I think there should be a section on her page as well that describes how and why she identifies as a visual activist.

Under the "Known for" section on Muholi's page, Installation and Video should be added to the list. Under the "Categories" section at the bottom of Muholi's page, Visual Activists should be added to the list.

The Section Art Projects should be a subsection under Work


 * 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 Early Life Artist Statement

“I produce photographs to advance my political agenda, which is to contest the invisibility of LGBTI communities in the mainstream media; to rewrite/revisualize/re-present black queer bodies in an amicable way” – Zanele Muholi (pg. 45 Muholi, Zanele. Zanele Muholi)

Zanele Muholi's goal as a visual activist is to make visible identities often “marginalized” in South Africa, including her own lesbian identity (pg. 423 Thomas, Kylie. "Zanele Muholi's Intimate Archive) Muholi emphasizes remaking the image of LGBTI people in South Africa to also explain that current normative images of them adds to the invisibility of their real identities by misrepresenting them. Visual Activism

Zanele Muholi identifies as a visual activist, considering the term visual artist too limiting in that it does not acknowledge the political agenda of her art. During her keynote address at a conference hosted by the San Francisco Museum of Modern Art, titled Visual Activism, Muholi defined the term "visual activism"

"Visual activism is about being and identities. It is an alternative way of agitating using visuals and digital media to convey messages." – Zanele Muholi (Jackson, Danielle, Notes on Visual Activism)

As a visual activist, Muholi uses photography as a form of resistance by subverting conventional representations of LGBTI South Africans as merely victims of violence. Another aspect of being a visual activist is found in works by Muholi were she uses herself as the subject but subverts normative representations that portray the subject as passive. (pg. 47 Muholi, Zanele. Zanele Muholi)

Work

Zanele Muholi’s work deals with intersectional issues such as race, class, gender, and sexuality as faced by LGBTI people in South Africa while using various themes such as fantasy and/or depictions of real life. Muholi’s work raises questions about belonging for non-conforming bodies and sexualities, (including gender fluid identities, and individuals that feel “trapped in the wrong body”) in the context of a post-apartheid society still effected by colonial ideology. (pg. 78 & 79 Gunkel, Henriette. "Through the Postcolonial Eyes) A fundamental aspect of Muholi’s work is the blurring of identities and dismantling of labels and categories that sharpen concepts of "natural and unnatural and immoral and moral". (pg. 47 Muholi, Zanele. Zanele Muholi) Some of Muholi’s photograph projects are created to contest stereotypical images of LGBTI individuals in South Africa as merely victims of hate crimes, while other projects by Muholi are made to expose these abuses. (pg. 78 Gunkel, Henriette. "Through the Postcolonial Eyes ) (Baderoon, Gabeba. "Gender within Gender”)

Zanele Muholi has used photography to capture the likeness of LGBTI experiences and identities, with the hope of “recreat[ing] dialogue and spaces” for these identities within the South African LGBTI community as well as to help this community connect with non-gender conforming practices during pre-colonial South African society. (page 45 Muholi, Zanele. Zanele Muholi) To further increase visibility of the LGBTI community in South Africa, Muholi presents her work on the streets of Johannesburg. She also encourages audience members to participate in her work by "inviting people who attend her exhibitions to share their opinions and reactions", whether negative or positive. Muholi then uses the negative responses in her documentaries to show the effects that social constructions of gender and race during colonialism has had on shaping the views and opinions of some spectators. (pg. 80 Gunkel, Henriette. "Through the Postcolonial Eyes).

She has also used photography and documentary film as a platform to discuss historical non-gender conforming identities that were known during pre-colonial times in Africa, arguing that these identities are apart of African tradition. (pg. 45 Muholi, Zanele. Zanele Muholi)

Constructed notions of race are also highlighted by the negative responses Muholi’s photographs depicting naked Black bodies have received. Writer Henriette Gunkel has noted these negative responses as revealing discrimination and resistance on the basis of race by the spectator ( pg. 80 Gunkel, Henriette. "Through the Postcolonial Eyes) -         Art Projects: Faces & Phases (2006 -2014)

This photo project, worked on for nearly a decade, consists of black and white portraits of LGBTI individuals representing their own identities as they see themselves. These photos were designed to counteract stereotypical images of LGBTI South Africans and to give visibility to these identities. (page 45 Z.M. Casa Africa) Writer Raél Shalley notes that Muholi’s photographs in this series “provokes a way of looking that potentially reconfigures sociocultural relations” by strategically reinventing images of non-heteronormative identities in a positive way. ( pg. 111 Shalley, Rael. "The Face I Love: Zanele Muholi's 'Faces and Phases'") Writer Kylie Thomas also notes that these photos deal with the idea of passing as one or another gender identity and how these photos themselves offer a way for the subjects to pass. (pg. 421- 424 Thomas, Kylie. "Zanele Muholi's Intimate Archive)

Being 2007 Being is a photo series documenting LGBTI couples in private spaces. Incorporated into these photographs are universal expressions of intimacy and happiness, which contrast from conventional images of non-gender conforming people as bruised and battered victims hiding in fear. ( pg. 401 Baderoon, Gabeba “Gender within Gender”)

Miss D’vine Series (2008)

Like Muholi’s Faces and Phases series, Muholi's photos for her Miss D’vine series intentionally allows the photographed subjects to express themselves in the ways they want to be perceived. Fantasy is used to invoke ideas of the possibility of living in a society that accepts and celebrates these identities (pg. 391 Gender within Gender). Many of the photographs are a hybrid of western industrial and traditional African influences where some photographs show subjects dressed in recycled materials while others such as the photo Miss D’Vine show the subject wearing a mixture of both African and European clothing.( pg. 390 Baderoon, Gabeba “Gender within Gender”)

Portraits of the Self Zanele Muholi’s Portraits of the Self are demonstrative of photo performance in that Muholi is embodying the message by using her body as the art subject. Similar to work by artist Pushpamala N., Muholi subverts the conventional image of the passive photographed female subject by looking at the camera rather than away, asserting agency while “interrogating the gaze.” Instead Muholi is the “subject of [her] own artistic recreation,” where she directs the photographer and therefore has greater control over how she will be perceived by the spectator. (pg. 47 Muholi, Zanele. Zanele Muholi) In another photo series titled Massa and Minah (2008) Muholi plays the role of her mother who was a maid during the apartheid era. The photographs reflect racial class divide in apartheid South Africa.

Career Exhibitions Solo Exhibitions Selected Group Exhibitions Awards Books References


 * 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 Baderoon, Gabeba. "Gender within Gender”: Zanele Muholi's Images of Trans Being and Becoming. Feminist Studies 37.2, RACE AND TRANSGENDER STUDIES (2011): 390-416. JSTOR. Web. 13 May 2015.
 * SECOND SOURCEGunkel, Henriette. "Through the Postcolonial Eyes: Images of Gender and Female Sexuality in Contemporary South Africa." Journal of Lesbian Studies 13.1 (2009): 77-87. Taylor & Francis Online. Web. 12 May 2015. <http://www.tandfonline.com/doi/abs/10.1080/07380560802314219?url_ver=Z39.88-2003&rfr_id=ori:rid:crossref.org&rfr_dat=cr_pub%3dpubmed>.
 * THIRD SOURCEJackson, Danielle, Natalie Catasús, Colin Partch, and Osmar Mismar. "Notes on Visual Activism | Art Practical." Art Practical. Art Practical, 7 Apr. 2014. Web. 11 May 2015. <http://www.artpractical.com/review/notes-on-visual-activism/>.
 * FOURTH SOURCEMuholi, Zanele. Zanele Muholi. Las Palmas, Canary Islands: Casa África, 2011. Print.
 * FIFTH SOURCE Shalley, Rael. "The Face I Love: Zanele Muholi's 'Faces and Phases'" Queer African Reader. Ed. Hakima Abbas and Sokari Ekine. N.p.: Pambazuka, 2013. 107-18. Print.

Pacita Abad
Identifying Wikipedia Gap

Pacita Abad states that being a painter has opened her eyes to a lot of things she was previously unaware of, she began to notice people’s faces, the graffiti, which she originally perceived as ugly but now beautiful. She states that starting a work is a long process, that concentration is one of the key components. She usually paints while listening to music, and prepares her canvas, paints, works while thinking about what she will be working on.

Gap Contribution Via Additions to Sections

Biography

Pacita Abad was forced to leave the Philippines in 1970 as a result of her involvement with anti-Marcos activism. She would later return to the Philippines in 1982, nearing the end of the Marcos era and the election of Corazon Aquino. Her brother Florencio, commissioned the University of the Philippines school of Architecture for the reconstruction of the stone houses in order to withstand typhoons.

Works

Her works deals with social issues, stating that it is a global and universal aspect that artists should tackle. She herself considered herself as a pioneer, starting new things, doing things differently, and taking the changes others aren’t willing to. She felt most comfortable when she was in her studio, as she describes it as not having anything else to think about other than the image in front of you. Pacita Abad states that being a painter has opened her eyes to a lot of things she was previously unaware of, she began to notice people’s faces, the graffiti, which she originally perceived as ugly but now beautiful. She states that starting a work is a long process, that concentration is one of the key components. She usually paints while listening to music, and prepares her canvas, paints, works while thinking about what she will be working on. Many of her works, included oil paintings, water colors, masks, collages, ceramics, and most notably her trapunto paintings, which were all a result of her honing in on her ideals as an artist.

Legacy

The Fundacion Pacita Batanes Nature Lodge in Basco was originally the home studio of Pacita Abad. With each accommodation have both Pacita Abad’s work as well as up and coming artists. Fundacion Pacita was used to reflect and promote the traditions of the Ivatan households in Batanes. For Pacita Abad’s 10th year anniversary of her death, a life-size bronze sculpture was made of her and unveiled in the Metropolitan Museum of Manila on December 6. The official name of the sculpture is entitled Pacita, and was commissioned by sculptor Julie Lluch for Fundacion Pacita and the family and board members of the Jorge, Aurora and Pacita Abad Memorial Foundation, inc.

Sources


 * 1) http://testaae.greenwood.com/doc_print.aspx?fileID=GR0374&chapterID=GR0374-3642&path=books/greenwood
 * 2) http://lifestyle.inquirer.net/54501/pacita-abad%E2%80%99s-boston-and-batanes
 * 3) http://www.plantingrice.com/content/assailing-senses-trapunto-art-pacita-abad
 * 4) http://www.fundacionpacita.ph/
 * 5) http://www.gmanetwork.com/news/story/391475/lifestyle/artandculture/bronze-sculpture-of-pacita-abad-unveiled-for-artist-s-10th-death-anniversary

Artist Mequitta Ahuja

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

For my Wikipedia gap analysis, I wanted to contribute more information about an artist who does not yet have an article on Wikipedia that includes links or information to a lot of their artwork and/or information about the artist’s life. I googled “female artists added to Wikipedia” and found a page listing several female artist for which an article had been recently added to Wikipedia. I entered each artist’s name into Wikipedia and read the recent article about them. I found that though a couple of the artists had a list of their works of art and some information about them most of the articles were very short with a limited amount of information. One of the artist that had a short article and whom I wanted to learn more about was Mequitta Anuja. The lack of information about her and her artwork limits the free knowledge out for the general public about not only female artists, but multiracial artist as well. Her artwork embodies ideas from and portrays the perspective of an African American woman with Asian Indian ancestries. This gap of information on Wikipedia limits the power of the female gender, ethnic minority groups, and mixed-race people by excluding links to artworks by artist like Mequitta Anuja and even more so when there is more information about the more dominant group of white, heterosexual, higher class male artists. Though an effort has been to include information about Mequitta Anuja, by adding additional information about her, more knowledge can be easily available for everyone to gain about non-dominant groups which in turn allows more empowerment of these groups.


 * 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.)

From the five sources I found additional information about Mequitta Ahuja. Here I will summarize new content to add to the pre-existing article about her. Mequitta Ahuja is the Program Designer and founding Program director of the Blue Sky Project, “a summer experience that empowers professional artists from around the world and local youth to collaborate and build community through the creation of ambitious works of contemporary art and performance”[4]. In July of 2014 the Minneapolis Institute of Arts included 100 different artist to the museum’s collection in which one piece was Mequitta Ahuja’s “Tress IV” an 8 foot long sketch of a black woman with dreadlocks flowing from her head down her body[3]. Some of her work has been exhibited in various areas throughout the United States and other places such as Paris, Brussels, Berlin, India, and Dubai [2]. Mequitta Ahuja has had tens of group exhibitions as well as several solo exhibitions in places such as New York, Texas, Illinois, and Ohio. Some of the exhibitions include Mequitta Ahuja includes African, Asian, and American influences in her artwork which reflect her own mixed-racial identity. She also has made multiple statements (included below) that reflect her ideas on female empowerment and ethnic identity.

“I define Automythography as a constructive process of identity formation in which nature, culture and self-invention merge. Proposing art as a primary method of this process, my works demonstrate female self-invention and self-representation through the deployment of her own tools” [5] “As an African American and South Asian American woman, my works embody a culturally complex position. I work from the vantage point of both Western and Eastern depiction, ancient and contemporary. To build the dense imagery suited to my visual and conceptual concerns, I work across artistic histories and categories, combining patterning, pictorial flatness and saturated color with large scale painting and self-portraiture. My imagery harkens to the past, mythic and ancestral but never finds its direct referent.” [5] “I see Feminism as one system of analyzing the formation of private and public identity as well as a political impulse toward freedom equality. There are other such endeavors such as Critical Studies and Afrocentrism. The premise of much of my work is that race exists only as a social construction and not as a fact of biology. Feminist analysis of the construction of gender, was my avenue to better understanding the formation of a racialized individual and group.” [1]

The following listed information is from: http://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/cvs/479.pdf (source 6)

PROFESSIONAL ACTIVITIES: 2009-2010 Studio Museum in Harlem, Artist-in-Residence, New York, NY

2008- Pres. Artist Pension Trust, Artist, New York Trust, New York, NY

2006-2008 Core Program, Artist-in-Residence, Museum of Fine Arts, Houston, TX

2004- Pres. Blue Sky Project, Program Designer and Director, Dayton University, Dayton OH

SOLO EXHIBITIONS: 2011 Automythography III, Minneapolis Institute of Arts, MN

2010 Trois, Obadia Gallery, Paris, France.

Automythography II, Arthouse, Austin, TX

2009 Automythography I BravinLee Programs, NY, NY

2008 Flowback Lawndale Art Center, Houston, TX

2007 Encouners BravinLee Programs, NY, NY

2005 Dancing on the Hide of Shere Khan 12X12, Museum of Contemporary Art, Chicago, IL

SELECTED PAST GROUP EXHIBITIONS:

2012

Portraiture Now National Portrait Gallery, Washington, DC

2010

Usable Pasts (Artists in Residence Exhibition), Studio Museum in Harlem, New York, NY

Body of Work (Women to Watch), National Museum of Women in the Arts, Washington, DC

Weaving in and Out, No Longer Empty, New York, NY

Until Now: Collecting the New (1960- 2010) Minneapolis Institute of Arts, Minneapolis, MN

New Works for the Collection, Blanton Museum of Art, Austin, TX

War Baby/Love Child DePaul University Museum, Chicago, IL

2009

Undercover Spelman College Museum of Fine Arts, Atlanta, GA

Outwin Boochever Portrait Competition Smithsonian National Portrait Gallery, Washington, DC

Anomalies Rossi and Rossi Gallery, Piccadilly, London

Wonder What The Others Are Up To Gallery OED, Cochin, India

$timulus Artadia Awardees Exhbiition Diverseworks, Houston, TX

The Talented Ten Deborah Colton Gallery, Houston, TX

2008

Houston Collects Museum of Fine Arts Houston, Curator: Alvia Wardlaw, Houston, TX

2007

Global Feminisms Brooklyn Museum, Curators: Linda Nochlin and Maura Reilly, Brooklyn, NY

Painters and Poets Ulrich Museum, Wichita, KS, traveled to: Illinois State University Galleries, Normal, IL, Queens Library, Jamaica, NY, Sheldon Memorial Art Gallery, Lincoln, NE

2006

Chimaera Tenri Cultural Institute of New York, NY

New Art Event Ulrich Museum, Wichita, KS

Spirit and Psyche: The Figure Transformed Highland Park Art Center, IL

2005

d’Afrique d’Asie Ethan Cohen Fine Arts, Curator: by Koan Jeff Baysa, New York, NY

Representations Contemporary Art Workshop, Chicago, IL

2004

Baltimore/Chicago Maryland Institute of Art, Curator: Kerry James Marshall, Baltimore, MD

AWARDS:

2009 Joan Mitchell Award

2008 Artadia Award, Houston

Cornelia and Meredith Long Prize, Inaugural Recipient

2003 Chicago Civic Arts Foundation Visual Arts Competition, First Place

2002 University of Illinois Diversity Fellowship

PUBLIC COLLECTIONS:

Blanton Museum of Art, Austin, TX

Cleveland Clinic, Cleveland, OH

Museum of Fine Arts Houston, Houston, TX

Minneapolis Institute of Arts, MN

Philadelphia Museum of Art, Philadelphia, PA

Ulrich Museum, Wichita, KS

U.S. State Department, Mumbai, India

MEDIA:

2010

The International Review of African American Art, Cherilyn Wright, 23.1

Art Practical, Christine Wong “From New York: issue 2.1

Thirteen New York Public Media “Sunday Arts News” September 19

The New Yorker, Vince Aletti, “Usable Pasts” August 18

ARTnews, Rachel Wolff “Artists to Watch” February

ArtConcerns, Profile

MW Capacity, Chris Lowrance, Interview

2009

Houston Public Radio, KUHF, Meghan Handley, “The Front Row” Jan 6

Houston Chronicle, Douglas Britt, “Artwork is a Reflection of its Audience” p.E2 Jan 8

Callaloo: Arts and Letters of the African Diaspora, Johns Hopkins University Press, 32.1 Winter

Might be Good, Nicole Caruth, Interview

Saatchi Online Critic’s Choice, Rebecca Wilson, Review

Artforum.com, Rebecca Dimling Cochran, Review

2008

ABC 13 News, Laura Whitley “MFAH Houston Collects” October 15

2007 The New York Times, Holland Cotter “Last Chance” June 1

Art News, Phoebe Hoban “We’re Finally Infiltrating” February

Modern Painters, Carrie Moyer “VIVA” March

ARTIST TALKS:

Brooklyn Museum

De Young Museum

Lawndale Art Center

MCA Chicago

Northwestern University

Smithsonian National Portrait Gallery

Studio Museum in Harlem


 * 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) http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/Mequitta.php

2) http://npg.si.edu/exhibit/drawing/ahuja.html

3) http://www.startribune.com/minneapolis-museum-showcases-100-master-drawings/266628181/

4) http://www.blueskydayton.org/artists/mequitta-ahuja

5) http://www.automythography.com/artists-statement.html

6) http://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/cvs/479.pdf

Pacita Abad

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

Pacita Abad is a female Filipino artist, upon searching for female artists on Wikipedia, specifically Filipino artists, I came across Pacita Abad who had a decent amount of information on her page, but I felt like more could be contributed towards her life history, art styles, and her legacy. The information on her biography is very basic, only going as far as talking about the education she had received and where she has lived. Moving onto the next area that needs some work is her works and art style, where the section only describes several of her art pieces, and the description of her main developed technique, and the many incorporations of that technique. Finally would be her legacy, they only briefly mention the lodge that was built, and never describe the purpose, meaning, function of the lodge, or anything else that has become of her. This Wikipedia article only covers the bare minimum of this artists, and I would like to help expand on this article by possibly talking about where she got the idea for her technique trapunto, and the progression of this technique to get to it’s final stages of her completing the technique, as well as going as far as talking about the other art styles she had used prior to trapunto. Also providing more insight of her life history, rather than knowing what school she went to but to provide more information that will allow us to understand and interpret her artwork and identity, and whether or not it affects topics such as gender, sexuality, race, class, and nationality.


 * 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.)

Biography

Pacita Abad was forced to leave the Philippines in 1970 as a result of her involvement with anti-Marcos activism. She would later return to the Philippines in 1982, nearing the end of the Marcos era and the election of Corazon Aquino. Her brother Florencio, commissioned the University of the Philippines school of Architecture for the reconstruction of the stone houses in order to withstand typhoons.

Works

Her works deals with social issues, stating that it is a global and universal aspect that artists should tackle. She herself considered herself as a pioneer, starting new things, doing things differently, and taking the changes others aren’t willing to. She felt most comfortable when she was in her studio, as she describes it as not having anything else to think about other than the image in front of you. Pacita Abad states that being a painter has opened her eyes to a lot of things she was previously unaware of, she began to notice people’s faces, the graffiti, which she originally perceived as ugly but now beautiful. She states that starting a work is a long process, that concentration is one of the key components. She usually paints while listening to music, and prepares her canvas, paints, works while thinking about what she will be working on. Many of her works, included oil paintings, water colors, masks, collages, ceramics, and most notably her trapunto paintings, which were all a result of her honing in on her ideals as an artist.

Legacy

The Fundacion Pacita Batanes Nature Lodge in Basco was originally the home studio of Pacita Abad. With each accommodation have both Pacita Abad’s work as well as up and coming artists. Fundacion Pacita was used to reflect and promote the traditions of the Ivatan households in Batanes. For Pacita Abad’s 10th year anniversary of her death, a life-size bronze sculpture was made of her and unveiled in the Metropolitan Museum of Manila on December 6. The official name of the sculpture is entitled Pacita, and was commissioned by sculptor Julie Lluch for Fundacion Pacita and the family and board members of the Jorge, Aurora and Pacita Abad Memorial Foundation, inc.


 * 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.)


 * http://lifestyle.inquirer.net/54501/pacita-abad%E2%80%99s-boston-and-batanes
 * http://testaae.greenwood.com/doc_print.aspx?fileID=GR0374&chapterID=GR0374-3642&path=books/greenwood
 * http://www.plantingrice.com/content/assailing-senses-trapunto-art-pacita-abad
 * http://www.gmanetwork.com/news/story/391475/lifestyle/artandculture/bronze-sculpture-of-pacita-abad-unveiled-for-artist-s-10th-death-anniversary
 * http://www.fundacionpacita.ph/

Alexis Garcia

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

The gap I found was on the page "Video Art."This page consisted of many gaps; lack of citations, lack of a worldwide view, and an excessive amount of examples. But even within all the artists that were cited there was a lack of feminist artists, lack of female artists in general, and especially a lack of international feminist artists referenced. Many of the feminist artists used video art and it helped to spread the feminist movement. But nowhere in this article are any of the feminist artists even mentioned. This article contains a gender bias, has a lack of adequate information, and does not have any international artists referenced. Most feminist artists who have done a piece with video art are linked to this page but this page is not linked to any of them. People researching feminists artists will be able to understand what video art is and find their pieces but people reading about video art will be entirely unaware that the feminist art movement was ever involved. Without feminist artists being mentioned in this article there is lack of worldwide information and variety on this page.


 * 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.)

In the 1960’s and 1970’s a new form of art emerged into the world called feminist art and with it feminist artists from around the world began to emerge. These artists began to make pieces using all medias of art in order to make the audience question political issues and social ideals. They enjoyed using alternative media, such as video art, to showcase their work as it was a media of art not as clouded by the influence of men as much as other forms of art. In the 1970’s Martha Rosler, an American artist, started out the movement with her video art titled “Semiotics of the Kitchen”, where she took regular household kitchen items and repeatedly misuses each item. Tracey Rose, a South African artist, is also well known as a feminist artist especially for her parodies of well-known pieces such as “Ciao Bella” where she mocks the famous Leonardo Da Vinci’s piece called the “Last Supper.” From South America, Ana Mendieta of Cuba uses Videography to showcase parts of her series called “Siluetas.” Feminist artists utilized the media of video art to further the feminist movement and spread their message to many people from all over the world.


 * 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.)


 * Feminist Art Movement, Artists and Major Works. (n.d.). Retrieved May 15, 2015, from http://www.theartstory.org/movement-feminist-art.htm
 * Semiotics of the Kitchen. (n.d.). Retrieved May 15, 2015, from http://www.eai.org/title.htm?id=1545
 * Liz, B. (2015, March 27). Performance artist Tracey Rose focused on leaving a legacy. Retrieved May 15, 2015, from http://www.ft.com/intl/cms/s/0/a5eeea24-ce34-11e4-86fc-00144feab7de.html#axzz3aB2n3TSO
 * Cotter, H. (2002, May 21). Art in Review; Tracey Rose. Retrieved May 15, 2015, from http://www.nytimes.com/2002/05/31/arts/art-in-review-tracey-rose.html
 * 18, F. (1998, February 18). Haunting Works From Cuban Exile Mendieta. Retrieved May 15, 2015, from http://articles.latimes.com/1998/feb/18/entertainment/ca-20170

pushpamala n.

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

I was curious about an artist like Pushpamala N. and looked her up because I was wondering what information Wikipedia would have on an artist based in India who made work based on popular culture of India like the Yogini piece or the piece of her take on Nadia. I feel like her page didn’t offer much about the work that she did, just where she studied and what kind of mediums she used. It didn’t talk about her Native Women of South India: Manners and Customs or her work with Claire Arni as much. They talked about the overall theme, instead of breaking down the remaking of the traditional images of Indian women both by Indians and the Western culture who orientalized and exoticized Indian women. It also only mentions Cindy Sherman as someone who she is compared to, yet there are other Indian women who are notable in the art world like Navjot or Amrita Sher-Gil. Also, while it is not considered as such, India is part of Asia and artists like Yuko Ono or Yayoi Kusama could also be considered as comparable since they use themselves as subjects in their art pieces too and play on popular culture in a way. They only added a brief description of the exhibitions she has been in, yet she has done many more works and has received many more awards. While it only be credited to the fact that maybe she was a little too far from Westerner’s notice, it also could be because ideas of orientalism or exoticism are not ideas that most Wikipedia editors notice, or when they talk about their “neutral” stance, the ideas that she is challenging can be seen as controversial.


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I would have liked to see more elaboration on what she was looking for by experimenting in “Indianness.” Her work in Native Women of South India: Manners and Customs basically challenges the one idea that most people have of Indians when they think of India- all the women are in saris or half-exposed, primitive, and are dark and brown. If you look at her Ethnographic series, it shows how the Anthropology has been used to exoticize the Indian women. Yet again, there was no talk about the dark history of anthropology (which could have been covered in their controversy section) and how it was used as a tool and scientific measure of “others.” I also think there should have been more said about the picture of her that was used of her decorated with Indian flags and in something that seemed a little tradition. While her work involves her donning traditional clothes and challenging them, by placing such a picture by itself, it perpetuates just an idea of her as a “traditional” Indian woman. Lastly, I think there should have been more mentions about the different exhibitions she has been featured in and all the awards she has won. For other entertainers in Hollywood, there is often a complete list of what TV shows they spoke on or what awards they have been nominated for and/or won, so I don’t think it is beyond Wikipedia’s capabilities to list such achievements. However, the only problem is the lack of information available for Wikipedia editors to draw upon as it was really hard for me to find any articles about her, let alone ones that are from “reliable” sources. Most of the ones I found were already used at the bottom of the page already as well.


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Loreedee (talk) 06:29, 15 May 2015 (UTC)

Doreen Garner

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

YOUR ANSWER HERE Finding a wiki gap was difficult for me. Many artists that I like and wanted to research were already on wikipedia, and had a substantial amount of information on them. Those who weren't, especially many contemporary artists, were very challenging to find credible sources which detailed their life and work, and these artists often did not have much published about them. Doreen Garner, for example, had no wikipedia page. I thought this was problematic because she is an important feminist artist, who deals with factors of intersectionality, such as race, religion, and gender,and yet has no information included in Wikipedia about her. However, while researching her, it was a very strenuous process to find not opinionated information about her and her works. I understand that when dealing with artists and an art community it is nearly impossible to include all prominent artists included in a particular category, but as a page that accepts unpublished authors, I can only hope that Wikipedia will continue to grow and gain conscientious authors who work to provide information that may not be found elsewhere. In addition, when dealing with relatively new or contemporary artists, credible information on them is difficult to find because they have not fully made their mark on the art world. When artists have controversial work, most articles are editorials, or contain biased opinions.


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YOUR ANSWER HERE Doreen Garner is an artist born and raised in Philadelphia in 1986. While she began as a painter, Garner works primarily with glass, and creates through mediums such as sculpture, performance, and video. She received her MFA in Glass at Rhode Island School of Design, and her BFA in Glass at Tyer School of Art of Temple University. Best known for the abnormality of her pieces and performances, Garner focuses on stereotypes associated with the body. Some of this interest stems from her own experience as a black, Christian woman. One piece, “Hung”, highlights this particularly well. It is made of long chains, strings of pearls, crystals, and stuffed condoms, and according to the artist it is supposed to draw off of the idea that there is a “fine line between attraction and disgust.” Another piece she is very well known for is her performance piece entitled “The Gaze” in which the artist displays herself inside a vitrine. She covered herself in petroleum jelly and glitter, and surrounded herself with stuffed condoms and hair. Video recording was meant to record the interaction between herself as a spectacle and the audience. She is currently based out of Brooklyn, and continues to make art there. Her awards and residencies include the following, among some others: CGCA Visiting Artist Residency- Wheaton Arts and Cultural Center (2015) LMCC Workspace Program- Lower Manthattan Cultural Council (2014) Toby Devan Lewis Fellowship Award – Rhode Island School of Design (2014) Creative Glass Center of America Fellowship –Wheaton Arts and Cultural Center (2010)

Doreen Garner has also been featured in many exhibitions such as Girl Bye, NY and The Gaze, RI. To view a full list of her exhibitions, click here http://www.doreengarner.com/curriculumvitae/
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Meganpolelle (talk) 06:32, 15 May 2015 (UTC)

Navjot Altaf

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

I decided to begin this project by looking through the Wikipedia pages for some of the artists that we discussed in class. I wanted to get an idea of how pages of better-known feminists artists look. When I searched Navjot Altaf's name, I was really surprised when nothing came up. At first I assumed that I had typed her name wrong or made some other error. I then search Google for “Navjot Altaf” and saw a Wikipedia page come up for a sculpture of hers. On the page for her sculpture, Navjot’s name is not linked to anything and thus I concluded she must not have her own page. I find this really surprising because the artists discussed in class are notable enough to be included in a university setting and have academic papers written about them, therefore they definitely meet with Wikipedia’s notability requirement and should have Wikipedia pages. I find Navjot's efforts to blend art and utility through her water pump pieces and children's centers really interesting and exciting so I have decided that Wikipedia’s gap in not including Navjot is the one I will address. Navjot is an Indian artist who uses her art as a form of activism. Her perspective as an Indian artist working on issues related to gender, domestic and sexual violence, race, and class makes her artwork valuable and relevant. The lack of a Wikipedia page for Navjot decreases the knowledge of Indian, Female, feminist artists and their work. When Navjot's work is not recognized by a knowledge granting body like Wikipedia, the ideology that art is only done by privileged white males and hung in museums is reinforced. Navjot's use of art as activism has created positive and beautiful good in the communities she works with and is work worth noting.


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Navjot Altaf is an Indian artist known for her sculptures, interactive art, and art activism. She was born in Meerut, India in 1949 and she trained at the Sir J.J. School of Arts, Bombay graduating in 1972 with a Diploma in Fine Arts and a certificate in Applied Arts. Her work has been featured in many different exhibits all over the world in addition to various site-specific collaborative projects. Part of her activism artwork has taken form through a collaborative project entitled “Nalpar.” The “Nalpar” project consists of a series of water pump sculpture installations in multiple Indian towns. The sculptures serve to both “beautify the water pump sites but to also create shelves for women to place their vessels on.” As part of her interactive art, in 2005 Navjot created the “Delhi Loves Me?” project in which she put poetry bumper stickers on the backs of rickshaws throughout Delhi. Afterward she interviewed the rickshaw drivers who participated in the project in public and created a film from the footage. This project is part of her efforts to make art available to the public. In 2004 she made a video installation project entitle “Mumbai Meri Jaan.” The project is a three video projection, which “focuses primarily on the experiences of migration of three street children in Mumbai.” One of her best-known pieces is an untitled sculpture of a blue woman often called [|Blue Lady] that is made out of teakwood and metal. The sculpture is on display at the Royal Ontario Museum and represents the goddess of fertility.


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MKDM (talk) 06:34, 15 May 2015 (UTC)

Alexis Garcia

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

The gap I found was on the page "Video Art."This page consisted of many gaps; lack of citations, lack of a worldwide view, and an excessive amount of examples. But even within all the artists that were cited there was a lack of feminist artists, lack of female artists in general, and especially a lack of international feminist artists referenced. Many of the feminist artists used video art and it helped to spread the feminist movement. But nowhere in this article are any of the feminist artists even mentioned. This article contains a gender bias, has a lack of adequate information, and does not have any international artists referenced. Most feminist artists who have done a piece with video art are linked to this page but this page is not linked to any of them. People researching feminists artists will be able to understand what video art is and find their pieces but people reading about video art will be entirely unaware that the feminist art movement was ever involved. Without feminist artists being mentioned in this article there is lack of worldwide information and variety on this page.


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In the 1960’s and 1970’s a new form of art emerged into the world called feminist art and with it feminist artists from around the world began to emerge. These artists began to make pieces using all medias of art in order to make the audience question political issues and social ideals. They enjoyed using alternative media, such as video art, to showcase their work as it was a media of art not as clouded by the influence of men as much as other forms of art. In the 1970’s Martha Rosler, an American artist, started out the movement with her video art titled “Semiotics of the Kitchen”, where she took regular household kitchen items and repeatedly misuses each item. Tracey Rose, a South African artist, is also well known as a feminist artist especially for her parodies of well-known pieces such as “Ciao Bella” where she mocks the famous Leonardo Da Vinci’s piece called the “Last Supper.” From South America, Ana Mendieta of Cuba uses Videography to showcase parts of her series called “Siluetas.” Feminist artists utilized the media of video art to further the feminist movement and spread their message to many people from all over the world.


 * 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.)


 * Cotter, H. (2002, May 21). Art in Review; Tracey Rose. Retrieved May 15, 2015, from http://www.nytimes.com/2002/05/31/arts/art-in-review-tracey-rose.html
 * Semiotics of the Kitchen. (n.d.). Retrieved May 15, 2015, from http://www.eai.org/title.htm?id=1545
 * Liz, B. (2015, March 27). Performance artist Tracey Rose focused on leaving a legacy. Retrieved May 15, 2015, from http://www.ft.com/intl/cms/s/0/a5eeea24-ce34-11e4-86fc-00144feab7de.html#axzz3aB2n3TSO
 * 18, F. (1998, February 18). Haunting Works From Cuban Exile Mendieta. Retrieved May 15, 2015, from http://articles.latimes.com/1998/feb/18/entertainment/ca-20170
 * Feminist Art Movement, Artists and Major Works. (n.d.). Retrieved May 15, 2015, from http://www.theartstory.org/movement-feminist-art.htm

Lexidg (talk) 06:38, 15 May 2015 (UTC)

Shana Moulton's work as a feminist artist

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

I chose Shana Moulton from the list of feminist artists on Wikipedia. When I first went to her page, I saw that it was pretty brief and did not have much information. There isn’t even a picture of her on the Wiki page though pictures of her are not difficult to find. I think not finding a picture on a Wiki page for a person suggests that they aren’t as important as other people. After reading through Shana’s page, it was clear that there was a gap, so I did some preliminary research about Shana and her work and found a lot of information that should’ve been on her Wiki page. There is both a gap in her page about her work as an artist and her accomplishments and a gap in the media and movements. Shana’s page has nothing about where her works are displayed and only talks about one set of her performance art (Whispering Pines) although she has a lot more works than that. Her page lacks any information about her influence as contemporary artists and in my research I found that her work shows the 21st century mode of appropriation to reshape mass-media culture. There is no link to the feminist art movement on her Wikipedia page even though her artwork is feminist and challenges perceptions about women and the role of women in our society. Her performance art is feminist and is part of the feminist movement and there should be a link to the feminist art movement on her page. This gap limits knowledge because it does not do justice to who Shana is as an artist and how important her artwork is. Her artwork challenges gender roles and confronts the unfair expectations of beauty that women are expected to live up to in our society, so the gap in information limits people’s knowledge of gender roles. There is also a gap in information about Shana’s accomplishments and this limits knowledge about successful female artists which is important because success of female and feminist artists needs to be remembered and acknowledged.


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New Section: Artistic Style and Influences

Moulton’s studies in anthropology are thought to have an influence on her art, since Cynthia’s relationship with objects resembles a symbiotic system, all of her emotions rely on physical objects. Her performance art has been described as “an anthropological analysis of the present, otherwise known but still current, which for the desire to possess items is the main source of spiritual delight and satisfies the need for transcendence.” Much of Moulton’s performance art as her alter ego, Cynthia, centers on challenging gender stereotypes. Unlike some other feminist artists, Shana uses playful repetition of objects that show socially constructed gender roles to show the object’s ubiquity. One installment of Whispering Pines featured a seemingly endless array of logos from the interest of various organizations or merchandise related to women’s health—Centers for Women’s Health, Women’s Health Expos, Women’s Wellness Expos, Oil of Olay—each predicated on an almost identical visual trope of curvy, line drawn figures, frequently in motion. Another, less famous exhibition, “Willpower” confronts the audience with female alienation in the house by deconstructing everyday living spaces ad nauseam, a good example of her use of repetition in her artwork. Moulton’s work is generational and her work as a contemporary artist has helped further establish appropriation as a definitive mode of the early twenty-first century.

'Added to Works:

Current:'

Whispering Pines[edit] The 10-part video series, Whispering Pines follows the protagonist's search for perfect health and peace through consumer objects.[4] Cynthia, Moulton's intimately autobiographical, surreal, video alter-ego, interacts with appropriated new-age marginalia, prescription drugs, and beauty products assembled into a whimsical scene of feminine anxiety.[5] Moulton explains that she is not required to 'get into character' for Cynthia; Cynthia is always there. Moulton says of her alter-ego, "It's me in the bathroom; it's me worried about aging; it's me looking at a beauty magazine... We share a brain. I don't even think of her as a character. It's just me." [6] Through Moulton's narrative of self-discovery, Cynthia gains relief from the social pressures of her domestic products by using them in non-prescribed ways.[7]

Edits:

Moulton's performances have been displayed internationally, including at Art in General, New York, Migros Museum, Zurich; Contemporary Museum of Art, Uppsala; Rencontres internationales Paris/Berlin, Paris; Aurora, Edinburgh; Dark Light Festival, Dublin; Impakt Festival, Utrecht; Internationale Kurzfilmtage, Oberhausen; Broadway 1602, New York; and Gimpel Fils, London. Moulton's performances have been presented at venues including The Kitchen, New York; PERFORMA 09, New York; Aurora Picture Show, Houston; Electronic Arts Intermix, New York; The Bluecoat, Liverpool; Socrates Sculpture Park, New York; among others. A comprehensive list of Moulton's solo and group exhibitions, performances, talks and lectures and awards and residencies can be found on her Gimpel Fils bibliography page online.


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1. Tailor, Sophia. "Thousands of Years of Loneliness Shana Moulton." Obieg. N.p., 23 July 2012. Web. 15 May 2015. <http://www.obieg.pl/książki/25850>.

2. Beard, Thomas. "Now That I'm a Woman, Everything is Strange." INCITE Journal of Experimental Media 3 (2011). Web. 15 May 2015. <http://www.incite-online.net/beard3.html>.

3. "Shana Moulton." Electronic Arts Intermix. N.p., 2015. Web. 15 May 2015. <http://www.eai.org/artistBio.htm?id=10320>.

4. "Shana Moulton." Gimpel Fils. N.p., n.d. Web. 15 May 2015. <http://www.gimpelfils.com/pages/artists/artist.php?artistindex=63&subsec=2>.

5. Herbert, Martin. "Morgan Fisher/Lucy Stein and Shana Moulton: Retention." Art Monthly 383 (2015): 31-32. Web. 15 May 2015. <http://eds.b.ebscohost.com.offcampus.lib.washington.edu/ehost/detail/detail?vid=3&sid=736668ef-5dc2-43d8-a731-35194c3045b1%40sessionmgr114&hid=122&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=a9h&AN=10110321>.

6."Shana Moulton's The Castle of Secrets." Art Agenda. Galerie Fons Welter, 2010. Web. 15 May 2015. <http://www.art-agenda.com/shows/shana-moultons-the-castle-of-secrets/>.

GKMayo (talk) 06:39, 15 May 2015 (UTC)

May Stevens

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

YOUR ANSWER HERE Under the "movements" part of page, at the right hand side in the sidebar, the only movement listed is "feminist art", it doesn't include the other movements she has taken part in; so whoever reads the page doesn't know the full story as to who she was and what she was about. The feminist art movement was only the last of the movements she became a part of, so the audience would be in the dark about her prior experience in leading, organizing, and participating in different causes before getting to feminist art.

“Angry Arts Week” was an event that Stevens was one of the main organizers for, in benefit for the anti Vietnam War movement. However, it does not show up anywhere on her page, but if you go to the “Angry Arts Week” wiki page (https://en.wikipedia.org/wiki/Angry_Arts_week), they name the men involved, but not Stevens.

Under her “Early and Later Life” section, it does not acknowledge the fact that Stevens was raised by a father who was racist and prejudiced against people of color and anyone who was non-christian. It also lack information on how the death of her younger brother affected her family chemistry and relationships with her mother and father. All of this lacking information on her family withholds the ability for the audience to understand the motives and attitudes that Stevens has towards racism and other injustices she expresses through her art.

Stevens was one of the co-founders of a journal/magazine called Heresies: A Feminist Publication on Art and Politics (https://en.wikipedia.org/wiki/Heresies:_A_Feminist_Publication_on_Art_and_Politics). The Heresies was mentioned on her page, but not linked to the wiki page of Heresies, this gap restricts the audience from learning more about one of Stevens’ biggest projects in the Feminist Art Movement.

Lastly, one of Stevens’ most famous exhibits was the Freedom Riders exhibit which was prefaced by Dr. Martin Luther King Jr. Although it is mentioned in the page, there is on link to the preface and it was very hard to search for the preface online. For May Stevens to have such a contribution with such a monumental person in our society,


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YOUR ANSWER HERE

Movements: Include Black Civil Rights Movement, followed by Anti Vietnam War Movement. [5] In actuality, Stevens was at first skeptical of the Women's Movement because she was concerned that the root of the problem was a matter of social class and race. Stevens mindset found that those issues were more pressing than the feminist movement. [2] This goes to show that her involvement previous movements before the feminist art movement is just as important of information to her profile.

Selected Exhibitions: May Stevens was one of the main contributors and organizers of the Angry Arts Week that took place in Lower East Side, NY in January of 1967. (May Stevens should also be acknowledged and linked in the Angry Arts Week wiki page.) Stevens was a big supporter of the Anti-War movement against the Vietnam War. May Stevens put up an exhibit that was prefaced by Dr. Martin Luther King Jr.: "The men and women who rode the freedom buses through Alabama, who walked in Montgomery, who knelt in prayer in Albany, who hold and sing We Shall Overcome Some Day in the face of hostile mobs--their acts cry out for songs to be sung about them and pictures to be painted of them." [5]

Early and Later Life: Stevens was raised both by her mother and father, her father being racist against all non-white and non-Christian people. This would later influence Stevens attitude towards racism, inequality, prejudice, oppression, as well as her artwork. She often tried to educate her father change his attitude towards non-white and non-Christian people, but was unsuccessful. The death of her younger brother brought much tension to her family. Her mother became depressed and isolated from society, her father did not show any support towards her mother; therefore Stevens was mostly left to taking care of her mother on her own. This caused Stevens to develop bitterness towards her father whom she was once very close with. [5] Heresies: a Feminist Publication on Art and Politics   [4]


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Edriennec (talk) 06:46, 15 May 2015 (UTC)

Howardena Pindell

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

<p style="text-indent: 3em;">While researching possible ideas for the curation project, I stumbled across a couple of feminist artist whose Wikipedia page did not do them justice; one of which is Howardena Pindell. Even though the Wikipedia page for Pindell exists, it is extremely limited in acknowledging all of her life’s work. Pindell’s biography on the Wikipedia page does not that she worked at the Museum of Modern Art (MoMa) for 12 years but fails to mention that she was an Associate Curator of Prints and Illustrated Books. I noticed that there was a gap for Pindell on her page because while I was researching, I noticed there was so much more I can find about her just by running a search of her name on Google. Her Wikipedia page, of course, was one of the top results but it was missing the information I was looking for about her Autobiography series. I decided to look into more of her work and background and more gaps appeared including the papers she helped wrote along with a number of books that she had published. There was also lack of mention of the exhibits she had in different museums and where her artworks can be found. The most crucial gap I discovered was the reason as to how her art has shifted over time including a very notable exhibit on Pindell’s outraged response to a show at Artists Space, New York. There are also a couple of broken links under the current references used. <p style="text-indent: 3em;">It is important to address the missing gaps to allow readers to have a better understanding of how Pindell’s artwork transpired. It is also nice to be able to fully recognize the artist for all the work they have accomplished throughout their active work years. By identifying the gap that is missing from Pindell’s page, readers will gain more knowledge that can help them analyze her work. Wikipedia is usually where many people get their first introductory glance into a biography of the subject they are searching for which is why it is beneficial to provide them with a more detailed Wikipedia page.


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Education, Museum Work, and Teaching Career Howardena Pindell recieved her BFA from Boston University's School of Fine and Applied Arts in 1965 and her MFA from Yale's University's School of Art and Architecture in 1967. She was employed for 12 years at the New York Museum of Modern Art as the first African Associate Curator of Prints and Illustrated Books, rising from her position as Curatorial Assistant, while establishing herself as an artist.

Art Pindell's work began to drastically change in 1968 as a result of the influence of Black Power and feminist movements. From these new experiences and dialogue, Pindell uncovered a personal awakening allowing her to be freer in using unconventional materials she had not used in her art before such as fragrant and glitter. She became a member of an artist/art-related consciousness-raising group but gradually withdrew. In 1979, Pindell was in a car accident from which she suffered a concussion and memory loss leading her into more autobiographical work. In her time, she has had numerous solo exhibits and was also included in many group exhibits. Her most recent solo exhibit ran from April 14, 2014 to May 17, 2014 titled Howardena Pindell: Paintings, 1974-1980, at the Garth Greenan Gallary in New York.

Other Works In 1999, Pindell starred in short film titled Howardena Pindell: Atomizing Art hosted by Lowery Sims. The film was created and produced by Linda Freeman and written and directed by David Irving. In the film, Pindell gives insight into life spanning from the tiniest particle known to man: the atom, to the largest issues of our time including class, racism, and sexism.

Pindell is also an accomplished writer. In 1987, Pindell compiled and published 'Art World Racism: A Documentation, which documented statistics of African-American exclusion. Her publication was excerpted in the New Art Examiner in 1989. The Heart of the Question, a book of her writings, was published in 1997.

Awards Pindell received an Honorary Doctorate from the Massachusetts College of Art in Boston, as well as one from the Parson School of Design, otherwise known as The New School University in New York.

Pindell received the IAM Pioneer award in 2000


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Source 1 Source 2 Source 3 Source 4 Source 5 Source 6

Thanhvanthinguyen (talk) 06:47, 15 May 2015 (UTC)


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

I found a huge gap in the page of Tina Modottis, a feminist photographer. In her "Early Life" section. There is only two sentences stating her full name, her birth date, and the time she moved to the U.S. However, there was no other information regarding her childhood to indicate the social class, family relationship, or political views  in which she grew up under. I wanted to know more about her early life to understand her inspiration as an activist during her years in Mexico. Intersectionality is a big concept I learned in class. I realized that by understanding that concept for each artist, I am able to understand their art and their feminist contribution. As a result, I realized that her page in Wikipedia is lacking a lot of information to analyze her intersections. I personally wanted to know those details during her childhood to understand her inspiration for her photojournalism during her years in Mexico, which is her most feminist artworks. I looked into other sources and most of them had some sort of gap as well. However, I did find  five major resources that  together drew a better picture of her early life. Indeed, as a read her story I understood her feminist actions during her short life. As a result, I believe everyone should have the same information in Wikipedia to have a better understanding of her famous photography and photojournalism.


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Existing Content: Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy.[1] In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California.[1]

Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother was Assunta Mondini, a tailor by profession, and her father was Guiseppe Modotty, a machinist by trade and a socialist. Both of her parents struggled to support the growing Modotti family during a time of economic hard times in Italy. As a result, the Modottis migrated to Austria in the Summer of 1897, and lived there for about eight years. During Tina Modotti's years in Italy and Austria, her home country had two distinct political phases: the crisis of the ' [| fin de siècle]and the era of the prime minister Giovanni Giolitti. Equally important, during those year, her father participated in socialist demonstrations and attended meetings, and among Tina's most vivid childhood memories was the traditional May Day demonstration: a sea of heads and red flags, seen from her father's shoulders. In Austria, three more of Tina Modottis' siblings were born and one, Ernesto Modotti, died at the age of four from meningitis or tuberculosis.

In 1905, the Modottis returned to Udine where Tina's seventh and last sibling was born. Tina was nine years old when the Modottis returned to Udine. Her main concerns were still the same: to find food for dinner and firewood to warm their pitiful home. She left school after third grade and began to help with the occasional work her mother could find as a dressmaker. That same year, with nine mouths to be fed, Guiseppe Modotty left Italy in search of the American Dream. In 1909 Tina worked as a silk-spinning worker up until 1912. A year later, at the age of 16, Tina Modotti immigrated to the [|United States] to join her father in [|San Francisco, California] where a new chapter of her life began.


 * 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.)


 * Argenteri, Letizia. Tina Modotti: Between Art and Revolution. New Haven: Yale UP, 2003. Print.
 * "Tina Modotti (1896-1942)." Women Photojournalists: Tina Modotti. The Library of Congress, n.d. Web. 15 May 2015.
 * Churchill, Mary E. "Tina Modotti." FoundSF RSS. FoundSF RSS, n.d. Web. 15 May 2015.
 * Cacucci, Pino. "One." Tina Modotti: A Life. New York: St. Martin's, 1999. N. pag. Print.
 * Dame|, Shannon. Indigenismo in the Mexican Photographs of Tina Modotti: The Revolutionary and the Indigenista. Brigham Young University BYU ScholarsArchive. Brigham Young University, 10 Nov. 2011. Web. 14 May 2015.

Gonzja (talk) 06:47, 15 May 2015 (UTC)

Tina Modotti: Early Life

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

I found a huge gap in the page of Tina Modottis, a feminist photographer. In her "Early Life" section. There is only two sentences stating her full name, her birth date, and the time she moved to the U.S. However, there was no other information regarding her childhood to indicate the social class, family relationship, or political views  in which she grew up under. I wanted to know more about her early life to understand her inspiration as an activist during her years in Mexico. Intersectionality is a big concept I learned in class. I realized that by understanding that concept for each artist, I am able to understand their art and their feminist contribution. As a result, I realized that her page in Wikipedia is lacking a lot of information to analyze her intersections. I personally wanted to know those details during her childhood to understand her inspiration for her photojournalism during her years in Mexico, which is her most feminist artworks. I looked into other sources and most of them had some sort of gap as well. However, I did find  five major resources that  together drew a better picture of her early life. Indeed, as a read her story I understood her feminist actions during her short life. As a result, I believe everyone should have the same information in Wikipedia to have a better understanding of her famous photography and photojournalism.


 * 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.)

Existing Content: Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy.[1] In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California.[1]

Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother was Assunta Mondini, a tailor by profession, and her father was Guiseppe Modotty, a machinist by trade and a socialist. Both of her parents struggled to support the growing Modotti family during a time of economic hard times in Italy. As a result, the Modottis migrated to Austria in the Summer of 1897, and lived there for about eight years. During Tina Modotti's years in Italy and Austria, her home country had two distinct political phases: the crisis of the ' [| fin de siècle]and the era of the prime minister Giovanni Giolitti. Equally important, during those year, her father participated in socialist demonstrations and attended meetings, and among Tina's most vivid childhood memories was the traditional May Day demonstration: a sea of heads and red flags, seen from her father's shoulders. In Austria, three more of Tina Modottis' siblings were born and one, Ernesto Modotti, died at the age of four from meningitis or tuberculosis.

In 1905, the Modottis returned to Udine where Tina's seventh and last sibling was born. Tina was nine years old when the Modottis returned to Udine. Her main concerns were still the same: to find food for dinner and firewood to warm their pitiful home. She left school after third grade and began to help with the occasional work her mother could find as a dressmaker. That same year, with nine mouths to be fed, Guiseppe Modotty left Italy in search of the American Dream. In 1909 Tina worked as a silk-spinning worker up until 1912. A year later, at the age of 16, Tina Modotti immigrated to the [|United States] to join her father in [|San Francisco, California] where a new chapter of her life began.


 * 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.)


 * Argenteri, Letizia. Tina Modotti: Between Art and Revolution. New Haven: Yale UP, 2003. Print.
 * "Tina Modotti (1896-1942)." Women Photojournalists: Tina Modotti. The Library of Congress, n.d. Web. 15 May 2015.
 * Churchill, Mary E. "Tina Modotti." FoundSF RSS. FoundSF RSS, n.d. Web. 15 May 2015.
 * Cacucci, Pino. "One." Tina Modotti: A Life. New York: St. Martin's, 1999. N. pag. Print.
 * Dame|, Shannon. Indigenismo in the Mexican Photographs of Tina Modotti: The Revolutionary and the Indigenista. Brigham Young University BYU ScholarsArchive. Brigham Young University, 10 Nov. 2011. Web. 14 May 2015.

Gonzja (talk) 06:53, 15 May 2015 (UTC)

Tatyana Fazlalizadeh

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

When I figured out that I wanted to do my gap analysis on Tatyana Fazlalizadeh I went to search her Wikipedia page and noticed that there wasn’t much information on her. I did not read the information within the Wikipedia page until after I did research so that I would easily be able to notice the gaps. It is unfortunate that there is scares information on young female feminist artist of color like Tatyana who are keeping the feminist art movement alive. The biggest gaps that I found within the page were in the “Career” section and I also found a minor gap in the “Known for” section. The career section is brief and leaves out vital information on the journey of her career. The page doesn’t include much about her transition to street art which includes pencil drawing of women who were victims of street harassment as part of her Stop Telling Women to Smile series along with mural paintings. Her most popular series is Stop Telling Women to Smile and I feel as though the Wikipedia page forgot to mention a very important reason why this series began and it limits how the audience see the impact that the series truly makes, she also has another series that was not mentioned, and the page doesn’t include where were art work has been displayed or could be found. Another change I would make would be in the “facts/known for section”, I would add a picture and change the term public art to street art because according to Tatyana public art requires permission whereas street art is art that is done without permission and is most likely illegal. Along with that she is also an activist and a leader in her community. Like I mentioned before the gaps limit appreciation for the art that is being created by Tatyana Fazlalizadeh, but also show that young women artist of color don’t receive as much attention as white female artist. There is a preconceived notion and belief that feminist are/should be white but Tatyana proves otherwise while making an impact globally while embracing her African American and Iranian background which influences a lot of her art.


 * 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.)

Original Style and work[edit] Fazlalzadeh is primarily an oil painter.[10] Her work featuring President Barack Obama was included in the book Art For Obama: Designing Manifest Hope and the Campaign for Change, which was edited by artist Shepard Fairey.[11] She is most well known for her Stop Telling Women to Smile campaign.[12] Stop Telling Women To Smile[edit] In 2012 Fazlalizadeh gained notoriety when she began to use street art to speak out against the street harassment of women. Her poster campaign, Stop Telling Women To Smile, was based upon interviews conducted with women about their experiences of public sexual harassment. Each poster features a portrait of a woman, along with a caption responding to her experience.[12][13][14][15][16][17][18][19][20] Captions include statements such as "My outfit is not an invitation" and "No, you can't talk to me for a minute."[21] The campaign offers women an opportunity to fight back against their harassers.[22] The original Stop Telling Me To Smile posters were displayed in Fazlalizadeh's neighborhood in Brooklyn, New York City. Fazlalizadeh subsequently ran a successful Kickstarter campaign to bring Stop Telling Women To Smile posters to other cities across the United States.[13]

My edited version

Tatyana Fazlalizadeh is a freelance illustrator/painter based in Brooklyn, New York mostly known for her oil paintings but has branched out into street art where here most popular series Stop Telling Women to Smile came about in 2012. This street art series addresses street harassment specifically focused on gender street harassment which she decided to start because of her own experiences of street harassment. This series was a way to speak and fight back her harassers along with victims across the globe. She sits down with women in her community who have experiences street harassment and hears their story; she then photographs the women and draws the portrait from the photograph. She adds captions and text on the poster which are inspired from what the women have told her. Tatyana designs the posters, prints them and wheat pastes them around town, usually where the women live and then tries to spread the posters around and cover different grounds because she is aware that street harassment happens everywhere. Tatyana has expanded this movement internationally, Mexico being her first country as she collaborated with the Fusion Digital Organization. The series has now expanded to Trinidad, Tobago, the United Kingdom, Canada, and Berlin. International wheat pasting night has allowed the world be involved in this movement by holding wheat pasting nights where organizations around the world go out and help spread awareness by wheat pasting the STWTP posters around their communities. Most of her art work is displayed within her websites, social media accounts, and magazines but has had exhibits at the Brooklyn Artist Gym, which is a place for local artist. Although she is a local artist she allowed her local community to help her pave the way for making an impact globally by introducing the STWTS series/project internationally. She has also received recognition on NPR along with various other media outlets.


 * 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.)

AngelicaUrbina (talk) 06:56, 15 May 2015 (UTC)

Sonia Khurana

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

When I was trying to figure out which artist I wanted to focus on for this assignment and while researching their names on Wikipedia to see if there was any information missing on their description, comparing it to what we’ve read about them or even talked about in class, I noticed that the most talked about and known artists, such as Yoko Ono and Frida Khalo, had a longer description and more context on their Wikipedia page, which provided a wider source of information for its viewers. Of course, I’m sure a lot of information and history about those artists was still missing, however when I looked up the name of Sonia Khurana on Wikipedia, I found almost nothing about her or her artwork. The fact that not much is written about her on Wikipedia really makes me wonder why that is the case and it also raises awareness to the fact that not all artists are as recognized as others when they should, whether it is because of their choice of performing their art or the issues they are advocating for. This was the main reason why I wanted to focus on finding more information about her background and her artwork; knowing that her artwork was seeing as feminist and that she used it as a way to speak her mind and advocate for various issues that matter even on today’s society.


 * 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.)

Sonia Khurana was born on August 8, 1968 in Saharanpur, U.P., India. She got her Bachelors Degree at the Fine Arts College of Art in Delhi from 1986 to 1993. She also got a Masters Degree in Fine Arts at the Royal College of Art, in London. She was involved in an artistic research residency called the Rijksakademie VBK, in Amsterdam from 2002 to 2004. Some of Khurana’s most famous works of art performances have been Bird and Lying-down-on-the-ground. Khurana’s Bird performance was a video of Khurana’s naked body “precariously flitting on a pedestal, which instantly became an iconic feminist video.” Many can interpret this piece of artwork as one that is against the conservativeness of “covering up of the female body by a male-driven society; and, of course, ideas of beauty.” Khurana has acknowledged that some of her work and other performance-based practices are inspired by Rummana Hussain, who made a distinctive shift to multi-media works, and therefore considers Hussain as the key influence but that her work was just the beginings of a “movement.” Khurana’s artwork has been shown in different parts of the world and it is still being sold in various art galleries. A lot of her artworks are worth up to $57,000, which means that there is a lot of significance in it. Some of her artwork that has sold has been the following: Lone Women Don’t Lie, Somnambulists – IV, Bird: Re-take I, and Head Hand.


 * 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.)


 * T
 * T
 * T

Dgst29 (talk) 06:57, 15 May 2015 (UTC)

Janine Fuller's Shift In Activism

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

The artist that I researched and chose to base this assignment off of is Janine Fuller. When researching her through Wikipedia, I found multiple gaps. The first being that, while there was a link to the Supreme Court Canada case's Wikipedia page that she was involved in, there was no link back to her on the case's page even though it was a very influential case that she won. The Supreme Court Canada case's page only links to her book store's page and not to hers. Another gap that I found is that her page says she has worked as a performance artist, but there is no list of any of her actual art or plays. Even with additional research through many sources, I could only find one book and one website that reference an actual piece written and/or performed by her. In addition to the two gaps that I have already mentioned, and there is hardly anything about her early or personal life. The last gap, and the one I am going to attempt to fill, is that there is one brief sentence about her diagnosis of Huntington’s disease, and while it mentions that she has become an activist on issues pertaining to this disease, it doesn't mention how. I found these gaps by first going to her Wikipedia page and reading all of the information on her. I then clicked on links to other pages, such as the court case's, and checked to see if those pages mentioned her at all. After this, I did research outside of Wikipedia to see the types of things this woman has accomplished that were neglected to be mentioned. She has been hugely influential in Canada’s LGBT community and led fights against censorship and fought to end oppression and yet it’s very hard to find information about her other than baseline statements.


 * 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.)

Personal Life: Upon being diagnosed with Hungtington’s disease Fuller’s activism took a different, yet related, turn. Although most of her life was dedicated to LGBT activism in Canada, through means of fighting censorship and homophobia, her activism now has more of a focus on her condition. For Fuller, being an activist for the queer community and being an activist for those with Huntington’s disease go hand in hand. Her aim is to increase visibility for the condition, and she has done this by giving speeches at events surrounding the topic. In 2009, Fuller gave a speech at the World Congress on Huntington’s disease in Vancouver, Canada. Fuller believes that the issues surrounding coming out as queer and speaking out about Huntington’s disease are parallel. She co-founded the Diorama Party with her partner, Julie, in 1989 and upon attending her last one in 2014, bringing the Diorama Party to a close, Fuller declared that the proceeds from the final party will go towards research and services surrounding the condition. Needless to say, her days of posing in photos for photographers such as Daniel Collins are over. Her brother, Rod Fuller, passed away at the age of 54 at the hands of Huntington’s disease. Fuller avoided speaking about her brother’s condition for most of her career as an activist, and only opened up about her brother’s influence on her life recently.


 * 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.)


 * http://www.straight.com/life/bright-lights-janine-fuller
 * http://www.clga.ca/npc/subject/42
 * http://gayvancouver.net/community/diorama-party-comes-to-a-close-after-25-years/
 * http://www.dailyxtra.com/vancouver/news-and-ideas/opinion/the-diorama-party-concludes-with-huntington’s-benefit-96500
 * http://www.yourlifemoments.ca/sitepages/obituary.asp?oId=475304

Kss221 (talk) 06:58, 15 May 2015 (UTC)