Priscilla, left, and Regina in Brooklyn, 1979. From "Eye to Eye: Portraits of Lesbians."CreditJEB (Joan E. Biren)
Darquita, left, with her mother, Denyeta, Alexandria, Va., 1979. From "Eye to Eye: Portraits of Lesbians."CreditJEB (Joan E. Biren)
Source: The New York Times
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Ana Mendieta, Silueta en Fuego, 1976
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ana mendieta, body tracks, 1974
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Robert Mapplethorpe - Untitled (1973)
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Cindy Sherman, Untitled Film Still, 1977.
Cindy Sherman explores the symbolic - she instilled that all things are mediated/signified/linguistic. Instead of using ‘abjection of the body’ (artists like Vito Acconci or Chris Burden), Sherman used visual cues and symbols to create a ‘performance of self,’ because abjection somewhat escapes signification (abjection is about the absence of something). In doing so, the artist took familiar images (popular film stills) and duplicated them. Every ‘film still’ features the actual artist herself dressed as a different popular (or familiar) film character. These works also reference the fluidity of gender identity (a woman’s ability to use different visual cues such as clothing, makeup and props to become a different type of person) and gender performance.
I Want What I Want (1972, dir. John Dexter)
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themovies
I Want What I Want (1972)
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Cindy Sherman Untitled Film Still #16 1978
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One of Marilyn Minter’s main themes, the ways in which women view, mask, and display themselves, is exemplified in the extreme by her mother’s narcissism, reflected in the many mirrors of her home. The Coral Ridge Towers photographs—resulting from an undergraduate assignment—show Minter’s mother variously posing, lounging, and primping in the privacy of her home. To the artist’s surprise, these stark portraits disturbed her classmates, and, as a result, she did not show the work for more than twenty-five years.
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Pretty Dirty by Marilyn Minter
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ana mendieta, “sweating blood”, 1973. (the artwork is a short film, these are stills from the work) #art #anamendieta #film #feministart
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Hannah Wilke | A woman manipulating her own eyelids | Gestures, 1974
Source: landmarks.utexas.edu
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Rebecca Horn, still from Performances II, 1973, showing Cockatoo Mask
Source: anothermag.com
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Senga Nengudi, from the R.S.V.P. series, c. 1970.
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Anita Steckel, Just Waiting for the Bus, Photo-montage, 1969–70
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Anita Steckel- Anita Steckel and the Skyline Painting (1974)