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The recent social conditions do not favour female artists to pass on their gender-related artistic experiences and skills authentically, free from prejudices. The prejudice-free approach would be an advantage even from the recipient side, protecting artist women from being stigmatized and unfairly ignored because of suspected feminism. People are often sorted into a hierarchical order based on their gender, if it is interpreted as a system of power. This classification system as a tool of power, have an adverse impact on people and includes those mechanisms, which give rise to inequality between men and women. A gender perspective exists in institutions independently from the individuals, discourses and, on the other hand, it occurs in subjective experiences within the individual. This gender perspective acquires its different meanings through the continuous interactions of the aforementioned factors and negotiations for power in order to decide who can do what, when, where, and how. Artworks reflecting emancipatory pursuits appeared in the second half of the 20th century, which inspired artists of both sexes. The artist's body as a new media in art become common at this time, providing even more powerful tools for the criticism of social problems. A major part of female and male artists used their bodies as artistic media to seek new identities, formulate social expectations by putting the criticism of stereotypes in the centre, while investigating the relationships between artists and the society. Meanwhile, research concerning the nature of femininity has been extended even to the nature of masculinity. The paradox of this situation is, that by the time women could win the right to express their own identity the modern identity-consciousness expropriated by men has lost its self-evident nature.