Contemporary Women in Visual Art - Essay Example

However, there is increasing war for fair representation of women in visual art. In the article “China’s Female Artists Quietly Emerge” by Cotter, this issue is deeply discussed. This paper presents a critical analysis of this article by evaluating its approach, relevant insights, authenticity, viewpoints, and authoritativeness among others. The place of women has been greatly contested in the recent times. As the article presents it, women in China have had no any chance in Chinese visual art for a long time despite their profound talents in different fields of visual arts.

Having reached a breaking point, they are presenting their anger by openly defying social norms that enclose men into the world of arts. Cotter uses a rich mix of literature techniques to present her point of view. The article begins with a very interesting and captivating introduction that directly catches the mind of the reader. From the word go, the issue discussed within the article is introduced. Xiao Lu demonstrates her anger and protest in a national art gallery by shooting at a mirrored sculpture.

It is actually ironical that this was the first Chinese government sponsored exhibition and did not address the role of women in visual art. What she had done was a symbolic explosion that expressed protest among the international art enthusiasts and critics. Indeed Li Xianting, an art critic, criticized the incident as a precursor to the infamous Tiananmen Square protests of 1989. The big issue presented by the article is the position given to women in contemporary art particularly in china.

Women, however talented, are rarely given a chance to display their artistic talent, especially in visual arts. Men always take the first preference. Artwork done by women is a rare commodity to find even in large and modernized social settings such as Beijing. Although the article does not have a reference list, most of the information can be traced back to the original source. For instance, the event on the article correlates with later happenings as claimed in the article. A follow up on Tiananmen Square protests of 1989 shows that Xiao Lu protest event at the national gallery could indeed have been a precursor of the Tiananmen Square protests.

Further investigation proves that Li Xianting is indeed claimed to be a Godfather of Chinese contemporary avant-garde art. Yin Xuizhen is indeed a contemporary art enthusiast as claimed in the article. These plus other examples prove that though the article does not have a reference list, the information contained therein is authentic and trustworthy. However, the failure to include references in the article has given the author a great deal of flexibility in expressing the main ideas. The main idea is developed from a neutral point without much influence from works of other authors.

It can be claimed that the article is written in an idealistic point of view. The article takes on a woman character and develops her contribution to the agenda of contemporary visual artwork. The contributions of contemporary visual artists, such as Ms. Xiao, Lin Tianmiao, Yin Xuizhen, and Lu Qing, have been well elaborated, and this expresses the viewpoint clearly. The article presents the issue of contemporary artists in a time in history when gender equality and affirmative actions have received heightened attention.

Interestingly, Beijing happens to be a global symbol regarding representation of women issues. The fourth world conference on women took