Cyberfeminist art: empowering women through body, identity, and technology.

Cyberfeminism was born in the 1990s against a backdrop of a burgeoning feminism, the emergence of several schools of related thought, and rapid technological advances. The present study explores cyberfeminist art, which empowers women through body, identity, and technology. Lu Yang’s Uterus Man (2013) and Lee Bul’s <italic>Cyborg W1-W4</italic> (1998) blur gender boundaries by reconstructing female body parts, employing the body as a medium of artistic expression to counter the male gaze and reshape women’s identities. The film <italic>Teknolust</italic> (Lynn Hershman Leeson 2002) expands women’s discourse by challenging perceptions of gender identity and highlighting the unjust social treatment of women. Meanwhile, cyberfeminist artists have integrated new technologies into their work. The two examples discussed herein are ORLAN’s <italic>The Reincarnation of Sainte-ORLAN</italic> (1990–1993), which uses cosmetic surgery technology as a means of creating art, and Lynn Hershman Leeson’s series of photographs entitled The <italic>Phantom Limb</italic> (1985–1986). The study explores the techniques and contributions of cyberfeminist artworks and affirms the importance of cyberfeminist thought in dissolving gender binaries and empowering women. [ABSTRACT FROM AUTHOR]