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This article is based on my paper presented at the symposium, “Art in Ecology, Nature, and Environment,” held in Seoul in May, 2012. I investigate several American women artists who, in and around the Stieglitz Circle, worked closely with the theme of nature and environment in the era of early American modernism. Through discussions of the life, place, dress code, and art of Anne Brigman, together with those of Georgia O’Keeffe, Pamela Colman Smith, and Mabel Dodge Luhan, this article reexamines these artists in the light of recent feminist and ecological themes, particularly, cultural ecofeminist ideas.
In my study of them as precursors of contemporary ecofeminist art, I investigate these women artists on how they challenged gender stereotypes and feminine identity in the patriarchal society of the late 19th and early 20th centuries as well as the hierarchical value-dualism that is characteristic of such a society--male vs. female, culture (man) vs. nature, reason vs. emotion, mind vs. body--in which the former was considered superior to the latter and was justified to dominate the other. The lifestyle and work of these artists demonstrate the counter-cultural images that they established against contemporaneous society’s dualistic value system; the artists’
unified images of nature and women are presented not as inferior to, but as equivalent to those of culture and men. They also worked against upper-middle class feminine stereotypical images such as motherhood, the trophy wife, the ideal Venus, or the femme fatale. Their counter-cultural images were further strengthened by their preference to reside in less-hierarchical locations such as California or New Mexico, far from New York, the center of modern art world; their androgynous images of everyday life and habits like cross-dressing; and their expressions for female liberation.
Early modern women artists’ endeavors to escape from men/culture-centrism and conventional gender boundaries; their efforts to reevaluate and recreate the feminine body; and their search for a new paradigm for ‘femininity’ as well as the coexistence of men, women, and nature in their lives and works suggest that within the limit of their own time and space, they struggled with similar issues that contemporary ecofeminist artists have been facing but have yet to reconcile.
In my study of them as precursors of contemporary ecofeminist art, I investigate these women artists on how they challenged gender stereotypes and feminine identity in the patriarchal society of the late 19th and early 20th centuries as well as the hierarchical value-dualism that is characteristic of such a society--male vs. female, culture (man) vs. nature, reason vs. emotion, mind vs. body--in which the former was considered superior to the latter and was justified to dominate the other. The lifestyle and work of these artists demonstrate the counter-cultural images that they established against contemporaneous society’s dualistic value system; the artists’
unified images of nature and women are presented not as inferior to, but as equivalent to those of culture and men. They also worked against upper-middle class feminine stereotypical images such as motherhood, the trophy wife, the ideal Venus, or the femme fatale. Their counter-cultural images were further strengthened by their preference to reside in less-hierarchical locations such as California or New Mexico, far from New York, the center of modern art world; their androgynous images of everyday life and habits like cross-dressing; and their expressions for female liberation.
Early modern women artists’ endeavors to escape from men/culture-centrism and conventional gender boundaries; their efforts to reevaluate and recreate the feminine body; and their search for a new paradigm for ‘femininity’ as well as the coexistence of men, women, and nature in their lives and works suggest that within the limit of their own time and space, they struggled with similar issues that contemporary ecofeminist artists have been facing but have yet to reconcile.
목차
Ⅰ. 머리말
Ⅱ. 20세기 초 미국 여성작가들과 젠더 정체성
Ⅲ. 앤 브리그먼: 자연과 여성신체의 접목
Ⅳ. 조지아 오키프, 파멜라 콜먼 스미스, 메이블 닷지 루한
Ⅴ. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2013-609-003348727