A new eros: sexuality in women's art before the feminist art movement

Unrestricted While the 1970s are known for the rise of feminism and female sexual imagery, this dissertation demonstrates that women were already creating a wide range of sexually themed art in the 1960s. Even before the formation of the first women artists’ group, Women Artists in Revolution, signaled the beginning of a collaborative feminist art movement in 1969, female artists working in a variety of media—including filmmaker Carolee Schneemann, painter Marjorie Strider, sculptor Hannah Wilke, and collagist Anita Steckel—began redefining the boundaries of contemporary art through their sexually explicit works. This dissertation argues that erotic art made by women artists was central to the radical changes that took place in American art and politics during this period—from the crumbling of modernist aesthetics to the expanding field of art practice to the emergence of the feminist art movement. In the midst of a male-dominated contemporary art world, the public display of sexual content by female artists challenged the paradigm of formalism and laid the groundwork for a discussion of gender and sexuality in representation.

无限制（Unrestricted）：尽管20世纪70年代以女权主义崛起与女性性意象的兴盛为人熟知，本学位论文证明，早在20世纪60年代，女性艺术家便已创作出大量以性为主题的艺术作品。早在1969年首个女性艺术家团体「革命女性艺术家团体（Women Artists in Revolution）」成立，标志着协作式女权主义艺术运动的开端之前，便已有一批跨多种媒介创作的女性艺术家——包括电影艺术家卡罗利·施内曼（Carolee Schneemann）、画家玛乔丽·斯特赖德（Marjorie Strider）、雕塑家汉娜·威尔克（Hannah Wilke）与拼贴艺术家安妮塔·斯特克尔（Anita Steckel）——通过其露骨的性主题作品，重新定义了当代艺术的边界。本学位论文指出，女性艺术家创作的情色艺术，是这一时期美国艺术与政治领域发生激进变革的核心推动力：从现代主义美学的崩塌、艺术实践边界的拓展，到女权主义艺术运动的兴起，皆与其息息相关。在当时由男性主导的当代艺术界中，女性艺术家公开展示性主题内容的行为，挑战了形式主义范式，并为艺术再现中性别与性议题的讨论奠定了基础。