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-WOMEN IN THE HISTORY OF ART-3 rd party. (Women's Body)

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Another line of work is part of the woman's body and in some cases, from the body of the artist.

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The status of women in art as in sex, has been taking shape so far as the object rather than subject. Women often have developed a relationship with your body as if it were its own object. The independence of the male gaze produces a configuration of hybrid beings between the declaration of their independence and habit of producing, I want to become another. It is acquiring its own view of another way to win back the female body. The

women as sexual property, the beauty of women as treasure, as a coveted object is a constant in the history of art. In any collection of any museum can see heroic male nude, proud, pathetic, suffering, exemplary. On the other hand the female nudes, still more frequent, often offer a limited range, passive and beautiful.

Some interesting works are, for example, that of Vanezza Beecroft, which includes some women who have to remain static or condemned to repeat movements masquerading as a " male desire. " Dream On Blondes, models dressed in blond wigs wait passively in a room, something that seems to have no beginning or end.

Another example is Orlan, who has become famous for handling their own physical declared many of its interventions in this manipulation was not directed to a traditional embellishment body (plastic surgery), but to highlight the personal metamorphosis as an imposition on their own body and its image.

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also the work of Cindy Sherman American work researching the issue of female stereotypes. Sherman photographing herself dressed, makeup and dressed in a situation and approach, so that the narrative and the role that it occupies us is immediately evident as part of a sequence we recognize. Thus it is clear the configuration of a feminine identity based on a few items.

On the other hand, is a way of Frida Kahlo, in which certain artists searched for their identity connotations inserted in the flow of natural life. Where the ownership of the body through experiences such as pain, childbirth, and other private transformations, seeking to claim a vision of the female body it away from its subservience to the stereotype of male pleasure.

is with a certain mysticism that have an anthropomorphic view of nature and female (Anthropomorphism, a form of personification (applying human qualities to inanimate objects) similar to the solemnity (adopting the personality of another person).
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Frida Kahlo, based his autobiographical art production from exhaustion, caused by an accident, and the vicissitudes of a wounded body. Obsessively painted his own image combined with sometimes brutal dream expressions. Part of his work is wrongly associated with the surrealist. However, she stated, "They thought I was a Surrealist, but it was not. I never painted my dreams. I painted my own reality."

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The third thematic line is: "Women and Art Activist."

For this, go to this link: http://cucutarte.blogspot.com/2010/01/mujer-arte-y-activismo.html

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-WOMEN IN THE HISTORY OF ART-2 Part. (The Structuralism)

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From the second half of the twentieth century, after claiming struggles, women gain recognition as artists. From there he outlined three clear lines of artistic production: "The Structuralism" or Feminist Art, "From a woman's body" and "Artistic Activism."
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The "structuralism" is one of the methods used to analyze the language, culture and society in the second half of the twentieth century . Search interrelationships (structure) through which meaning is produced within a culture.

Within the meaning of a culture is produced and reproduced through various practices, phenomena and activities that serve as meaning systems. We study things as diverse as food preparation and serving rituals, religious rites, games, and literary texts, forms of entertainment, etc.
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have been a number of women artists who were interested in searching the genealogy of knowledge (hidden, hide, ridiculed), which form the female creation. Pointing to proper feminine: sewing, cooking, home.
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However, it is significant that the social status they have today these activities, matches the male ownership of these shares, now converted into professions.

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This must be understood in the art using thread and needle, with allusions to the kitchen and home.

Perhaps the artist who has achieved imagery home with all the love-hate ambivalence, has been Louise Bourgeois, who performs an embodiment imaginative and emotional feel feminine at home. Bourgeois establishes a series of partnerships between the subtle threads of affection and maternal identity in the needle used to stitch together but, close, obstruct. Equates the hollows of the array with the den, the den, but also the cell, the prison. His works tell us about fertility and nutrition, but also of repression, domination.
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This Similarly there are many artists working with the theme of home in a line of thought has been called home mythologies. For example see the work of the Egyptian artist Ghada Amer a tapestry with threads hanging colouristic as the tangle of wires emerges the image of a woman masturbating. The image conflicts with the tradition of the woman who.

Other examples might Cosima von Bonin or Tracey Emin. In his works we find that typical contradiction becomes half as sewing, traditionally linked to private and personal, one that occupies a place of public exposure.

So has also understood the series of photomontages by Martha Roesler called "House Beautiful in Vietnam", which juxtaposed images an ideal home, exits a decorating magazine for 70 years, with images of war that was while at the same time.

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Although the most significant work in this line of work is "The Supper" Judy Chicago . This is an installation consisting of a large table in a triangular shape (the symbolic form of sex for women), which is located 39 plates of diners, all women in the arts, politics and science, to which honors. In each dish we find representations paintings and sculptures that allude to the female genital anatomy. The work is a mix between high culture (art history, science and politics) and popular culture (pottery, cooking, decoration). The theme of the panel that serves to mark historic agreements (signed peace treaties), and symbolizes the setting of a society (the Arthurian round table), coupled with its sacrificial character and Memorial (The Last Supper of Christ), used to invite history to all those women who have been forgotten.

is a vindication of their sexuality and its role in world history is not limited to waiting on tables.

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"WORKSHOP-SCHOOL, ALONSO CERON"-XVI

In a city devoid of academic spaces for learning the arts or crafts, Alonso SCHOOL WORKSHOP-Ceron is an oasis in this desert. The teacher

know very well, besides his usual affability, that displays virtuosity in his works, and its ability to transmit that knowledge. For all that attend, as students, from children to seniors. Has done so for almost twenty years. Among the current students should be noted that two of them made his paintings, one with mouth-Nestor Raul Ruiz, the other with his foot Jesus David Sanchez, due to be affected by body paralysis.

Each student develops a personal evolution under the direction of Maestro Alonso, allowing everyone to go as fast as you wish, or to the interests that have.

-School Workshop emphasizes creativity in the learning process of children are enrolled there. It is responsible Rolando Ceron, son of maestro Alonso, who gives it a creative dynamism with which it has the complicity of students.

During the past 16 years, an exhibition of the work being done by students in the Workshop-School. On this occasion, the sample is displayed in the "Centennial Museum."

"Centennial Museum."
Calle 14 No. 1-03 Barrio
, La Playa.