Image of women empowernment with signification

Result #1

Image of women empowernment with signification The status of women in general is a sensitive topic, with a fraught history in the West. The power of traditional family structures, as well as in the United States, is felt in every facet of American culture. An array of personal and political myths of women—from the seemingly innocuous tales of natural creation, Mother Earth, and the Virgin Mary to the history of slavery—affects the way we view the world. Thus, for example, the myths of the Virgin Mary, which may date back to the 1960s, are anchored in Jewish beliefs. In the Christian tradition, Mary was a virgin, God's own manifestation of the Virgin, who was conceived in the womb of the Virgin Mary. Here, however, the Virgin is not only a Virgin, but also the embodiment of God.The Virgin Mary is associated with the Virgin Mother, as well as with the maternal instinct that fueled the women of ancient Egypt, as well as in the Jewish people. The women of Egypt were known as Ikhnummim, or sacred mothers, and the women of Israel, shemim—or mothers who have sons. The Christian myth, then, was that the Virgin was the daughter of God and the Mother was his daughter, and the Virgin was thus the mother of the world. The myth of the Virgin as the mother of God is one that is central to the Christian faith. Here, too, the Mother is the daughter of the most important father in the nation, the Most High, and the Virgin, the mother of the most important father, the Most High.In the biblical book of Genesis, the word nikot (father) is used in the plural form, literally, sons. In Hebrew, this is the plural form of the title of the most famous woman in the biblical book, Sarah, the most prominent and most important woman in the ancient world.

Result #2

Image of women empowernment with signification vernacular. They are sometimes seen as mere signs of power. The Women in Chains series, 1991–92, for example, was a collaboration between the artist and filmmaker Nell Darnall. The piece is a diptych of twenty-three black and white photographs of women in chains, taken between 1970 and 1987. Each woman wears a scarf; the color of the scarf indicates the size of the womans body. As the pieces progress, the scarf fades to a purple that appears in the backdrops, suggesting the red-or-white colour of blood. The scarf represents the women who are free, and are powerless. In this way, the scarf and the womans bodies are linked. The scarf has a power that is not theirs. But it also has a history that is not theirs. The scarf as a symbol of power, as a symbol of oppression, is also a symbol of liberation. This is a clear-cut dichotomy. In a text written for the show, Williams discusses the history of women in chains and its power to resist, and Williams notes that he is speaking about this as a woman, not as a king. But in this case, the woman is not a free woman but is a slave. It is the same power that oppressed the womens bodies. The women in Chains are captives, and so are the chains that bind. The chains of oppression are the same as the chains of bondage, for they are both. The chains of oppression are oppressive in the sense that they bind together the enslaved and those who oppress them.In the Women in Chains series, Williams continues to explore the role of women in chains. In the Women in Chains series, Williams also examines the relationship of chains to the gender that is in chains. In the Women in Chains series, Williams again uses the women in chains as signs of power. But instead of clothing the women in chains, he unites the chains with the women in the diptych.

Result #3

Image of women empowernment with signification ............................................ The red-carpeted carpeting of the museum floor in this exhibition, Prévé (Red) (all works 2003), was a resounding indictment of the status quo. In fact, the installation consists of a total of twelve chairs arranged in a neat row, with the seats located at various heights and turned to create a roomlike surface that evokes the look of a floor. The installation also features a series of transparent pneumatic cylinders, which appear to be fueled by liquid and projected onto the floor. The cylinders, which vibrate and rotate on their bases, are filled with the same liquid, a liquid that evokes a full body of water, even if it is a less viscous, but still liquid, substance. Although the sculptures are simple in form, they are rich in symbolism. The sculptures have been created from the same material as the liquid, and the transition from the surface of the plaster and the liquid to that of the pneumatic elements is part of the works symbolic content.The artist, known for his concerns with the history of art, has drawn a line from sculpture to painting, from the history of aesthetic and symbolic design to the history of social and political organization. In this show, he continues to examine the history of art in a new and more ambiguous way. He now plays with the many ways of painting and the medium of sculpture. As he elaborates on his earlier work, he has become more and more involved with the implications of painting as a medium, an equally important part of his art. He continues to make use of the formal vocabulary of modernist painting, especially in his use of lines, grids, and the color and patterning of his shapes. But despite their apparent simplicity, these works also contain an air of mystery, as if the meaning of the forms were not yet completely understood.

Result #4

Image of women empowernment with signification  from the perspective of a young woman.  A woman is a vulnerable part of the world, a subject of mystery and vulnerability, and one of the most dangerous things to come along. But here, as in the original work, a word is spoken through the visible body, a word that evokes in all its richness and sensitivity the tragedy of the everyday world. One of the more satisfying works in the show, this work managed to make the body part seem more sacred and sacred than it actually is, as the body is symbolized by the skull. The body is the vessel through which we pass to immortality. The female figure is the vessel of the soul. In this way, the skulls symbolism of the human figure—of the soul—is taken up in a more profound way than in any of the works in the exhibition. In a way, this is the reason behind the skulls beauty. The beauty of the human body is, in the end, the most beautiful of beauty, the most sacred. But this sacredness is not without danger. It is a danger of the souls that are inside. In the second room of the exhibition, the women of the series Violetta in ogni-nita (Women in the World), 1986–86, are shown in the guise of two women in a cave, one of them pregnant with a child. The title of the work is borrowed from a Greek, which means womb, and in the mythology of the Greeks, the womb is the place where the soul dwells. The cave is the place where the soul can emerge and live. In the next room, in a different way, the cave is the place where the soul goes to die. In the vaulted room, the vault of the vault is filled with skulls, and the vault is filled with soul. The vault is the place where the soul can live and come forth.The last room of the exhibition was a meditation on the power of death.

Result #5

Image of women empowernment with signification ___________________________________________________________ The first work in the show, a group of six sculptures, exemplifies the artists esthetic sensibility. Each of the works consists of a hanging lightbulb, an array of small-format prints, and a large-format drawing of a woman in a bikini. All of these elements are used to form a two-dimensional image that extends from the bottom of the center of the ceiling to the top of the wall. The original object, however, is an enlargement of the photograph. In this way, the lightbulb functions as a second, extended representation of the woman. The other works are more abstract and more formal in conception. A photograph of a woman, say, shows a woman standing with her back to us and her arms outstretched in a gesture that recalls the position of the figure. The form of the pose is expressed by the curved edge of the woman, the subtle curves of the skin, and the delicate curves of the breasts. In the larger work, the curves of the breastbone and the curve of the breastbone are clearly visible. A similar, albeit smaller, photograph of a man shows the curves of the man and a woman sitting on a sofa with their back to us. The figures are painted in a manner similar to the photographs, with dark gray-brown and black outlines. The only features that are not in the original photograph are the cups and rings of the women, which are defined by the shape of their breasts.In each of the works, the woman is represented as a silhouette; she is rendered as an image in space. The light bulbs are suspended from the ceiling in an abstract and abstracted manner. The figures are blurred, as if they were shadows; the colors are bold, saturated, and intense. The lighting is harsh, and the shadows are heavier, as if the figures were more weight than they really are. The darkening of the colors makes the figures appear more lifelike than they really are.