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Frontiers in Feminist Art History

Frontiers in Feminist Art History jill fields If we can bring in women’s history, we can bring in women’s future. Judy Chicago, 1976 In the televised reality competition series Work of Art: The Next Great Artist, young artists compete each week in various challenges testing their abilities to make art on demand within a limited time. I just watched the recently con- cluded second season’s episodes over a couple days while recovering from the fl u. Over and over again the contestants’ enthusiastic and affl uent art auction- eer mentor, the series’ stylish and wealthy art and fashion scene host, and the show’s successful and at times perceptive art world judges—a critic, a gallery owner, and a guest who is often an artist him- or herself—encouraged the art- ists to make work based upon their personal experiences; to experiment with a range of materials and methods, including performance art; and to challenge themselves by confronting emotional obstacles to their work. Those who did so were rewarded with prize money, “immunity” from being dispatched in the next week’s episode, and appreciative praise from the judges during their “crit.” Not surprisingly, the fi nal three contestants in their last challenge to de- termine who would win http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Frontiers: A Journal of Women Studies University of Nebraska Press

Frontiers in Feminist Art History

Fields, Jill, --
Frontiers: A Journal of Women Studies , Volume 33 (2) – Aug 18, 2012
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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 Frontiers Editorial Collective.
ISSN
1536-0334

Abstract

jill fields If we can bring in women’s history, we can bring in women’s future. Judy Chicago, 1976 In the televised reality competition series Work of Art: The Next Great Artist, young artists compete each week in various challenges testing their abilities to make art on demand within a limited time. I just watched the recently con- cluded second season’s episodes over a couple days while recovering from the fl u. Over and over again the contestants’ enthusiastic and affl uent art auction- eer mentor, the series’ stylish and wealthy art and fashion scene host, and the show’s successful and at times perceptive art world judges—a critic, a gallery owner, and a guest who is often an artist him- or herself—encouraged the art- ists to make work based upon their personal experiences; to experiment with a range of materials and methods, including performance art; and to challenge themselves by confronting emotional obstacles to their work. Those who did so were rewarded with prize money, “immunity” from being dispatched in the next week’s episode, and appreciative praise from the judges during their “crit.” Not surprisingly, the fi nal three contestants in their last challenge to de- termine who would win

Journal

Frontiers: A Journal of Women Studies – University of Nebraska Press

Published: Aug 18, 2012

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