| Autor: |
Amos, Emma, Anker, Suzanne, Bee, Susan, Cheng, Emily, DeManuelle, Stepanie, Dickson, Jane, Doogan, Bailey, Ford, Hermine, Gross, Mimi, Hansell, Freya, Jacquette, Yvonne, Kozloff, Joyce, Lanyon, Ellen, Lee, Betty, Malen, Lenore, Messner, Ann, Neumaier, Diane, Pierson, Nancy, Pollack, Barbara, Rothenberg, Erika |
| Předmět: |
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| Zdroj: |
M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory & Criticism; 2000, p252-302, 51p |
| Abstrakt: |
This article considers the views of several women artists on the intersection of motherhood and art. Emma Amos said that raising two children while maintaining her identity as an artist introduced her to the concept of superwoman. Her experiences of juggling art, work and home were no more harrowing than those of her college-educated mother, who was owner and partner with her father in their family business. Both Emma and her mother have secure and accomplished husbands, who participated in parenting more than was called for at the vastly different times of their child rearing. On the other hand, Suzanne Anker shared that both the woman artist and the mother operate in constricted terrain, tracts contaminated by propositions entwined with age-long tales of social and determinist Darwinism. As individuated subject, woman forms the locus of a career, developing and exchanging systemic controls and expenditures. These activities of motherhood and creative work are certainly more alike than different, more connected than separate. Emily Cheng related that any women artist with a realistic sense of what is out there would be concerned with how being an artist who is also becoming a mother will be perceived in people's minds. This is where one has to be hyper-conscious about what and where the pitfalls of stereotyping lie, and take corrective measures. |
| Databáze: |
Complementary Index |
| Externí odkaz: |
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