Female graffiti artists
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While graffiti has historically been considered a male-dominated art form,[1] women have contributed to graffiti since its inception, with some theorising that early cave wall art was primarily drawn by women.[2] The earliest female contemporary graffiti artists include Eva 62 and Barbara 62, followed by Lady Pink, who began painting New York City subway trains as early as 1979.[3] Notable examples of female graffiti artists include Claw Money, Lady Pink, Swoon, Shamsia Hassani, and Miss Van.
Notable artists
[edit]- Christina Angelina (California, USA)
- Claw Money (New York, USA)
- Lady Aiko (NY-based, USA)
- Lady Pink (New York, USA)
- MadC (Bautzen, Lusatia)
- Margaret Kilgallen (San Francisco, USA)
- Miss Van (Toulouse, France)
- Shamsia Hassani (Kabul, Afghanistan)
- Stephanie Rond (Ohio, USA)
- Utah (New York, USA)
References
[edit]- ^ "Which Gender Does More Graffiti? – ArtRadarJournal.com". artradarjournal.com. Retrieved 2021-12-31.
- ^ Nuwer, Rachel. "Ancient Women Artists May Be Responsible for Most Cave Art". Smithsonian Magazine. Retrieved 2021-12-31.
- ^ "Graffiti Queen Lady Pink Still Reigns Supreme". www.vice.com. 28 July 2016. Retrieved 2021-12-31.
External links
[edit]
Wikimedia Commons has media related to Feminist graffiti.
- Women Street Artists
- Pape, Chris (February 7, 2013). "The 50 Greatest NYC Graffiti Artists". Complex.
- Dunne, Carey (December 10, 2014). "The Most Infamous Graffiti Artists of 1970s NYC". Fast Company.
- Frank, Priscilla (March 10, 2015). "10 Women Street Artists Who Are Better Than Banksy". Arts & Culture. Huffington Post.
- Girl Power (February 27, 2016) iMdb - The First Women's Graffiti And Street Art Documentary
- Stavsky, Lois (May 16, 2016). "Her Story: First annual female graffiti series". Street Art NYC.
- Shi, Diana (June 26, 2016). "Finally: A Documentary on Female Graffiti Artists". Vice.
Street Heroines, helmed by director and producer Alexandra Henry
- Pabón, Jessica (2013). "Be about it: Graffiteras performing feminist community". The Drama Review. 57 (3): 88–115. doi:10.1162/DRAM_a_00281. S2CID 57563225.
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