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Gender Issues in Art Education and Art Production GENDER ISSUES IN ART EDUCATION AND ART PRODUCTION by lliana M. Sandoval A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fultillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida December 2007 Gender Issues in Art Education and Art Production by II iana M. Sandoval This thesis was prepared under the direction of the candidate' s thesis advisor, Prof. James Novak, Department of Visual Arts and Art History, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Master of Art in Teaching Art. SUPERVISORY COMMITTEE: Prof. James Novak, Chairperson, Thesis Advisor Pr~ Az < .l)uu~Urtv0~~ Prof. Dr. Susannah Brown, Member Pr~r, Department of Visual Arts and Art History De~n , The Dorothy F. Schmidt College of Arts and Letters Dean, Graduate Studies Date 11 ABSTRACT Author: lliana M. Sandoval Title: Gender Issues in Art Education and Art Production Institution: Florida Atlantic University Thesis Advisor: James Novak Degree: Master of Arts Year: 2007 This inquiry will address some of the inequities that exist regarding women in the visual arts and art history, and how that impacts art education practice. The influence of popular visual culture on the construction of gender identity, and differences between the sexes in areas of learning and creativity, will be considered. Teaching strategies developed by educators, which lead towards greater gender equality in art education, will also be discussed. Finally. because my experiences as an art teacher and my current artwork have lead to this gender related research. this discussion will include a brief autobiographical section, a thorough description and analysis of my artwork, and my major artistic influences. Ill TABLE OF CONTENTS Chapter 1. Introduction .... ... ............... ... ........ .. ....... ... ... .......... ..... .... ....... 1 2. A Brief Hi storical Account of Some Inequities regarding Women in the Vi sual Arts. ... .. .. ... .. .... ... .. .. .... ... .... ... ........ .. .... 3 3. Gender in Art. ... ... .... ...... ... .. .. .. ..... .. .. .... .. .. .... .. .. .. .. .. .. ... ... ... 5 4. Popular Vi sual Culture, Media Stereotypes, and Influences On Gender Identification .. .. .. .... ... ... .. .. .. .. .. .. .. ....... .. ... ......... .. .. 8 5. Differences in Male and Female Learning and Creativity .... .. ..... .. .. .. .. 10 6. Possible Teaching Strategies in Art Education . .. ..... .. .. ... .. ... ..... ... .. 12 7. My Teaching Experience and Artistic Training Limitations .. ...... .. ... ... .. 15 8. Description of My Current Artwork . ........... .. ... ... .. .... ...... .. ... 17 9. Artistic Int1uences . .. .. .. .. .. .. .. ... ... ... ..... ......... ......... ... .. .... .... .. .. 23 10. Conclusion ..... .... .. ... .. ... .. ... ....... .... .. ..... .. .. .. .. .. ... .. ... .... .. 29 II . Appendix ... .. .......... ... ................ .. .. .. .. .. ..... ... .. .. .. ........... 30 12. Bibliography ........ ............... .... ...... ... .... ..... ... .. .. .. ............. ... 32 IV I. INTRODUCTION As an artist and educator, I am concerned with the role of gender studies in art education, which revolves primarily around issues of equity in the teaching, learning and production of art. My perspective as a woman and feminist, as well as my background in education and art teaching have lead me to make the following assertion: there is a need at all levels of art education practices to expose students to the artwork and biographies of women visual artists, and also to modify teaching strategies to include applying critical analysis in addressing gender related inequities in art history and in popular visual culture. My thesis and supporting artwork encourages questioning the construction of gender, as well as human interaction and response focused on male and female relationships, sexuality, and social attitudes. This inquiry will address some of the inequities that exist regarding women in the visual arts and art history, and how that impacts art education practice. The intluence of popular' isual culture on the construction of gender identity, and the commonly asserted differences between the sexes in areas of learning and creativity, will be considered. Teaching strategies developed by educators, which lead towards greater gender equality in art education, will also be discussed. The benefits of teaching strategies for greater gender equality in all educational subjects, as well as art education are numerous. The following list states just a few of the possible advantages: -Provide positive role models for female students. -Provide a balanced perspective regarding women's contributions to the visual arts. -Expose all students to visual imagery by women related to gender and feminism, establishing their relation to historical inequities for women in all areas. -Promote greater understanding and appreciation of women' s artwork and giving it equal value and consideration as artwork produced by men. -Enhance student's social and aesthetic critical analysis skills, helping them interpret popular visual culture and identify negative gender stereotyping. Finally, because my experiences as an art teacher and my current artwork have lead to this gender related research, this discussion would not be complete without a brief autobiographical section, and a thorough description and analysis of my creative work including my major artistic influences. 2. A BRIEF HISTORICAL ACCOUNT OF SOME INEQUITIES REGARDING WOMEN IN THE VISUAL ARTS Throughout history women artists have produced great artwork. Their contributions to art history, however, have most often been forgotten. Since before the 1500's women artists were outsiders in a male dominated profession. At that time, as continues to be the case at present to a large extent; men set the standards and assumptions of the art world. Women were unwelcome intruders. Although some men claimed to be open to true talent, women's artwork was considered inconsequential and second rate. and was always judged in terms of female qualities and the gendered role of women in society.' This hostile attitude or institutional sexism is evident in the exclusion of women from important art world institutions, and also found in the general recording of world history. As the eighteenth-century artist Katharine Read put it: ·'I cannot help looking on myself as a creature in a very odd situation; "tis true we are all but strangers and pilgrims in this world, and ought not to think myself more so than others. but my unlucky sex lays me under inconveniences which cause these retlcctions. "2 1 Frances Borzello, A World f?lOur Own !New York: Watson-Guptill Publications, 2000]. 3-6. 2 Frances Borzello, A World olOur Own, 7 . .., .) It is preferable to see these women as survivors rather than victims. Many made the best of their artistic potentials, even though they were often only educated to entertain and were not admitted into art schools or 1igure drawing classes. As a result, women who obtained appropriate artistic training were usually relatives of successful male artists who shared their knowledge.3 Unfortunately, these women were expected to give up their work as artists, to get married and have a family. Fortunately for us, in the midst of all of this prejudice, many women found ways around their obstacles and became successful artists. Feminism and the U'omen·s Liberation t\lo vement o{the 1960's and 70 's, brought a new way of defining the art world, prompting the rediscovery and validation of the achievements of women artists. Feminism, de tined as a doctrine advocating equal rights to women, created a readjustment of historical perspective, revealing to us how recorded history is actually a narrow account of men, ret1ecting only the interests of men. This new historical understanding allows us to complete art history by restoring its female half.-! Recent research and documentation of women's art has finally enabled many talented artists' \VOrk to be preserved and included in art history books and important institutional collections. Yet even today women continue to be under-represented in exhibitions and . 5 art mstJtutwns.- 3 Borzello. A World (~lOur Own, 8-9. -l Norma Broude and Mary D. Garrard, Feminism und Art History [New York: Harper & Row. Publishers. 1982]. 15. 5 \lorma Broude and Mary D. Garrard. Feminism und Art J!istory, 16-18. A group of feminist artists called The Guerrilla Girls have been actively prompting controversy and change in the conscience of the art world since the mid 1980's. Their publications, posters and website provoke viewers' response to the overwhelming facts of feminine oppression and male dominance within our visual culture. For example. a popular poster published by them states: ·'Do women have to be naked to get into the Met. Museum? Less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female. "6 6 Borzello, A World (~lOur Own, 200. 5 3. GENDER IN ART While battling the male dominated arena of the art world, women artists produced an evolution of artwork reflecting their experiences and struggles. The feminist revolution of the 1960's brought new issues and images to the art world, breaking with traditional ideas of what women's art looks like. Artists Judy Chicago, Miriam
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