Some feminist artists emerging in the 1960s embraced forms and materials long associated with women's domestic handicrafts, implicitly renouncing the art world's_____the decorative and the functional, characteristics previously trivialized as feminine.
misconstrual of
penchant for
appropriation of
proscription of
flirtation with
Answers
Answer:
Explanation:
Throughout the history of art, decoration and domestic handicrafts have been regarded as women’s work, and as such, not considered “high” or fine art. Quilting, embroidery, needlework, china painting, and sewing—none of these have been deemed worthy artistic equivalents to the grand mediums of painting and sculpture. The age-old aesthetic hierarchy that privileges certain forms of art over others based on gender associations has historically devalued “women’s work” specifically because it was associated with the domestic and the “feminine.” That hierarchy was radically challenged in the 1960s by Pop and feminist artists, alike (e.g., Andy Warhol’s Campbell’s Soup Can series). In the wake of the Women’s Liberation Movement, feminist artists in particular sought to resurrect women’s craft and decorative art as a viable artistic means to express female experience, thereby pointing to its political and subversive potential.