Elastic Femininity: How Female Israeli Artists Appropriate a Gender-Endangered Practice

Feminist alternative practices among independent artists: The case of Guangzhou, China

“…Since the 1970s, there have been an increasing number of studies revolving around the gendered aspects of creative labour and cultural production. The most frequent focus has been on the 'representation' of female artists, as well as the interplay between femininity and masculinity within the realm of cultural production (Cowen, 1996;Duffy, 2016;Nicholin, 1971;Parker, 1984;Parker & Pollock, 2020;Reimer, 2016;Sung, 2016;Teo, 2010;Trajtenberg, 2016;Wang, 2009;Welland, 2018;Wong & Cuklanz, 2002). Through studies that have crossed a range of diverse art forms such as visual art and performance art, these scholars have examined how femininity is expressed and embodied within this sphere and how it intersects with other identities (such as racial and diasporic identities) in different contexts across historical periods.…”

“…Because some felt misrepresented and stereotyped by the label of 'female artists', they preferred to de-gender themselves, that is, presenting as gender-neutral to avoid highlighting their gender. For instance, Trajtenberg (2016) found that female graffiti artists sometimes make great efforts to prove that they are not women and fulfil the expectations of being a graffiti artist. In the Chinese context, Teo (2010) suggested that Chinese women artists living abroad are concerned about the implications of identity stereotypes, particularly around being a 'woman'/, 'Chinese/Asian woman artist, as gendered and racialised images essentialise women and overshadow their individual qualities.…”