From famous figures and works to contemporary pieces and their implications, read up on the engaging essays from some of Yiara’s contributors.
Il est parfois reproché à la romance de perpétuer des stéréotypes misogynes comme la glorification de la féminité (au désavantage de l’esprit, de l’intelligence ou de l’humour), ou bien la soumission des femmes dans les scènes érotiques. Alors, pourquoi lire la romance lorsqu’elle semble participer à l’enracinement d’une société sexiste ?
Throughout her seventy-year long career, Louise Bourgeois (1911-2010) used art as a mode of processing and translating psychological distress and intense pain.
Prends un café et ton imagination, je t’emmène à Olympia, capitale de l’État de Washington. On est dans les années 70 lorsqu’un nouveau campus pointe le bout de son pavillon : l’université publique d’Evergreen.
Canadian photographer Sally Elizabeth Wood, also known as Sally Eliza Wood, was born in Knowlton, Quebec in 1857. As a bourgeois white woman, Wood used her privilege to defy 20th-century gender norms; she received professional training at William Notman’s photography studio in Montreal sometime before 1897, which helped pave the way for her career in Quebec.
The Weimar era in Germany marked the start of the so-called ‘homosexual panic’ as a public paranoid reaction and progressive … Continue Reading The Enlightened Woman: Media Circulation and Lesbian Identity in Weimar Germany – Renata Critton-Papp
Rivalité féminine, défloration traumatisante ou encore menstruations taboues, notre image de l’adolescence au féminin perdure dans l’inconscient populaire.
In recent years, six of thirty-four of Dutch artist Johannes Vermeer’s paintings have been revealed to actually be the work of his daughter, Maria Vermeer. In this essay, Sophia Perring examines why she has remained unknown to us for so long.
L’exposition L’Archiviste se présente, à première vue, comme un véritable collage à même les murs du musée McCord, où se côtoient objets et images tirés de la collection du musée et de la collection personnelle de l’artiste. Mais il en est bien plus, Celia Perrin Sidarous y met efficacement en relation l’Histoire et les histoires, l’historique et l’anodin.
Les mouvements de néo-paganisme deviennent de plus en plus populaires. Nina Molto explore leurs liens au féminisme.
Il est dans l’air du temps de s’imaginer la fin du monde ; celle-ci, presque tangible lorsqu’on parcourt les titres d’actualité, nous renvoie à notre fragilité, et résonne dans notre imaginaire comme le reflet tordu de notre réalité intérieure.
Candy Darling is almost always spoken about in relation to well-known male artists. Sarah Hollyer-Carney explores her legacy and relationship with Andy Warhol.
What challenges did Gros-Louis face as a Huron-Wendat artist practicing in Quebec? How did the socio-cultural context in which she created art influence her craft? When did her work come to be considered as “art” by the white community?
L’Amant, écrit par Marguerite Duras, décrit la vie d’une adolescente française dont la famille s’est expatriée au Vietnam. Lisez la critique de Nina Molto.
Sylvia Plath, in both her life and death, is the object of fascination. Ennie Skurzak explores Plath’s legacy.
Contemporary Western art has recently become synonymous with self-expression and liberation. In this interview with Malak El Mahmoudy, our contributor Yaasrah Ahmed explores the perspective of viewing the pursuit of art as a privilege, rather than as a right. What forces artists to put their art on hold? And in what case does the pursuit of art put an artist’s liberation at risk?
Emily Draicchio’s essay argues that Ukeles complicates the common understanding of conceptual art as a rejection of the “emotional/intuitive process of art-making” by injecting her performances with the personal, and of “dematerialization” for using her body.
