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The Pictures generation of musicians in the 1970s and 80s was marked by a rejection of this legacy of the male-dominated universe of painting by a new generation of artists working with photography, video and performance art. The urge to discover a brand new aesthetic that suited the changing culture of the U.S. led many artists to express themselves using the immediate nature of photography. The most influential members of this group were girls concerned with questioning traditional representations of gender in the media and movie. Laurie Simmons' ancient photography was an investigation of social expectations about women's roles. Her Early Color Interiors photos (1978-79) critiqued conventional representations of women in domestic spaces. Her photos of kitchen scenes are particularly representative of the plethora of influences that informed the work that the Pictures creation, most notably in feminism and post-conceptualism. Though their work initially obtained a crucial reception, Simmons along with other members of their Pictures creation are now recognized for their sophisticated imagery which asks audiences to question the truthfulness of the photographic picture. In this paper, I will compare interviews with Simmons regarding her intent with visual and literary influences at that moment. I will demonstrate that although Simmons did not wish to label her work as feminist, she played a major role in redefining the aesthetic of feminist art without completely turning her back on the aesthetics and accomplishments of the earlier generation. I will compare Simmons' work and the work of other feminist artists to the social criticism of Betty Friedan's The Feminine Mystique to be able to ascertain their relationship to the vital tips for the se...