Wadsworth Atheneum Paper As time and artistic movements change, so do our perceptions of what constitutes “art.” These changes are often stimulated by those who are unafraid to challenge the status quo. For women artists, this compulsion to defy the norm came out whole-heartedly through the Goddess movement of the 1970s. The impact of this movement on women artists can still be seen to this day. One example of this continued effect can be seen in the work Goodbye Goddess, created by the American artist Norma Minkowitz in 2003. This piece is a visually stunning, and thought provoking, work crafted with paint and resin on fiber. This wall hanging immediately grabs the attention of the viewer as they walk into the room, not only because of its
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When standing in the gallery looking at this work, the undulations of the fabric interacting with the shadows on the wall creates a cresting wave-like motion that is palpable. You not only see, but begin to feel, the cyclical nature of the work as the forms degrade and reform. It is clear that Minkowitz has inserted the familiar form of the Venus de Milo into her work, drawing in classical artistic ideals of contrapposto. However, through her medium of crocheted fiber, there is a visual decay of the forms as they progress. Above them hangs a gilded sun and moon amalgam adorned with a golden face. This appears to be a direct reference to the cyclical nature of the work. As one observes the work it is also important to note how you can see straight through the forms, adding to the somewhat imperceptible quality that is the idea of …show more content…
Through this work she integrates the ideas of death, rebirth, and regeneration. This seems to be a direct reference to Marija Gimbuta’s book The Gods and Goddesses of Old Europe where she wrote about a formerly worshiped “Great Goddess Creatress” who was seen as a Goddess of life, death, and regeneration. Minkowitz’s crocheted forms also allude to the matristic symbology of the web that was key during the Goddess movement not only to combat patristic symbols, but also to help form a universal matristic spirituality among Goddess artists. It is clear from these examples that Minkowitz, who grew up when the Goddess movement of the 1970s was occurring, is taking their themes and adapting them to a new
When standing in the gallery looking at this work, the undulations of the fabric interacting with the shadows on the wall creates a cresting wave-like motion that is palpable. You not only see, but begin to feel, the cyclical nature of the work as the forms degrade and reform. It is clear that Minkowitz has inserted the familiar form of the Venus de Milo into her work, drawing in classical artistic ideals of contrapposto. However, through her medium of crocheted fiber, there is a visual decay of the forms as they progress. Above them hangs a gilded sun and moon amalgam adorned with a golden face. This appears to be a direct reference to the cyclical nature of the work. As one observes the work it is also important to note how you can see straight through the forms, adding to the somewhat imperceptible quality that is the idea of …show more content…
Through this work she integrates the ideas of death, rebirth, and regeneration. This seems to be a direct reference to Marija Gimbuta’s book The Gods and Goddesses of Old Europe where she wrote about a formerly worshiped “Great Goddess Creatress” who was seen as a Goddess of life, death, and regeneration. Minkowitz’s crocheted forms also allude to the matristic symbology of the web that was key during the Goddess movement not only to combat patristic symbols, but also to help form a universal matristic spirituality among Goddess artists. It is clear from these examples that Minkowitz, who grew up when the Goddess movement of the 1970s was occurring, is taking their themes and adapting them to a new