Anita Kunz

Frida Kahlo Art Appreciation, 2019

Frida's artworks represent Mexican folklore, national culture, and her passion for self-portraits, portraits, and still-life objects. Caught my attention her use of colors and her combination of elements in a few of her paints.

Anthurium A Caribbean Studies Journal, 2007

Journal of Illustration, 2017

Discussion of the current trend in illustration where illustrators become socially engaged in the projects they illustrate.

Illustrating Identity-ies / Illustrer l’identité, 2020

This article reports on findings of my content analysis and interactive data visualization titled ID: An Illustrator Dataset. A bibliography as well as a research tool, the project revealed the extent to which female illustrators were represented and marginalized in the illustration history canon between 1830 and 1970. Access the data visualization here: https://public.tableau.com/app/profile/jaleen.grove/viz/ID_AnIllustratorDataset_2019/1_Introduction?publish=yes Full publication details: Nathalie Collé and Monica Latham, gen. eds. and dirs. Sophie Aymes, Brigitte Friant-Kessler and Maxime Leroy, guest eds. Illustrating Identity-ies / Illustrer l’identité. Vol. 10. Collection Book Practices & Textual Itineraries. Nancy: Presses Universitaires de Nancy – Éditions Universitaires de Lorraine, 2020. 246 pages. ISBN : 978-2-8143-0580-9.

LINEA, 2020

The review of the exhibition of forty three of many women who studied from 1945-65 at The Art Students League in New York, in the context of the history of women's art education.

The work of Ruth Asawa, the San Francisco-based artist famous for her wire sculptures and fountains, defies strict categorization. When we consider the sometimes unexpected inspiration for her oeuvre, many attempts to classify Asawa and her art fall apart. Without allegiance to any party or movement, Asawa upset contemporary notions of both feminist ideology and femininity; of what it means to be a modern artist; and of what constitutes propriety in a gentrifying neighborhood infamous for its strip clubs. Challenging previous scholarship that has narrowly defined Asawa, my paper offers a more nuanced interpretation of her legacies to art, feminism, and community development.

ANS (American Numismatic Society) Magazine, 2018

This article about the medallic sculptural career of Leona Finke is based upon a presentation by the author in May 2018 at the XXXV FIDEM Art Medal Congress in Ottawa.

Abstract It would not be wise to adopt a view, unfortunately a wide spread one, that history of art is inclusive in terms of gender, as women are included as a favored object of a figurative artist. What needs to be acknowledged is that artists were not interested in women subjectivity. Their interest resides in representational qualities such as male defined beauty or sexual appeal. It is for this reason that including a woman as a protagonist into this malecentric history is of foremost importance. This is further underscored by the particular qualities Kathe Kolwitz as an artist, social and political activist, who dedicated her life to a struggle for social emancipation. This is, in a sense, the main legacy of Kolwitz's work: an attempt to make art more inclusive, more democratic, and aware of subjects omitted or outright excluded from its history. This struggle for restoring woman as subject, and not an object, of art, forms the very center of Kathe Kolwitz's opus. Her work is a testament to women--and men-- without biographies, as well as to all of us interested in solidarity, participation and individuality. For all those represented in her art are fully developed individuals, whose life is spent in fight against economic poverty and humiliation. Emotions and empathy were the driving engine, substantial and distinctive quality of Kathe Kolwitz’s effort, both as an artist and social activist. Key words: KÄTHE KOLLWITZ, WOMEN, EMPATHY, OPPRESSION, WAR

ARTPULSE No. 18 VOL 5 2014, 2014

Why was the Mona Lisa until 1911 just an average painting and suddenly acquired well-established fame? How do art works turn into icons? What are the criteria that determine that one art work becomes into an icon and another doesn't? What is the relationship between high art and pop culture? This is an interview with the authors of "Mona Lisa to Marge. How the World Greatest Artworks Entered Popular Culture".