They range from postwar experiments with darkroom processes (such as photograms and photomontages), to
1970s feminist performances conceived for the camera, to political and documentary engagements with labor history and globalization in the 1980s and 1990s, to forms of archival and historical reconstitution made since 2000.
They range from postwar experiments with darkroom processes, such as photograms and photomontages; to
1970s feminist performances conceived for the camera; to political and documentary engagements with themes of labor history and globalization in the 1980s; to post-appropriative forms of archival and historical reconstitution since 2000.
Not exact matches
Referencing past precedents of
feminist art, installation,
performance, and ideology, the artworks in the show present an expanded visual language that has resulted from a more inclusive art world, shaped in part by the social movements of the
1970's, thereby paying homage to a generation who has paved the way for contemporary female expression.
Taking as its title and starting point a statement by the pioneering British
feminist artist Jo Spence, the exhibition focuses on major
performance art made by women artists in the UK during the
1970s.
Inspired by Donna Haraway's essay, A Cyborg Manifesto, the
feminist science fiction and Afrofurturists of the
1970s; the exhibit will feature
performance, sculpture, painting, comics, and photography that aim to re code normative expectations celebrating the LIFEFORCE that is beyond human matter and closer to it's essence.
The later sections of the show frame the intersection of feminism and painting in easel paintings, large - scale works and
performances by
feminist artists in the
1970s and early 90s.
Room to be (Ms.) understood aims to interrogate the origins and genealogies of these practices by looking to a different, often neglected history of
feminist writing,
performance, and site - specific interventions from the
1970s.
Associated with conceptual art practices from the
1970s and known as a
feminist filmmaker and
performance artist, Antin playfully deals with questions of identity, gender, and class.
[33] Maria Troy, «I Say I Am: Women's
Performance Video from the
1970s,» also the title to a collection of «early
feminist tapes» curated by Troy as Associate Curator of Media at the Wexner Center in Columbus, Ohio.
I also included pieces by a few much older artists who made specifically
feminist work in the
1970s: Alice Neel's portraits of Linda Nochlin and other figures from the movement, and a number of Louise Bourgeois» installation and
performance works.
A leading light of the French
feminist movement in art during the
1970s, Yalter built her reputation on a series of works (chiefly in the form of drawings, videos, photographic collages and
performances) exploring the role of women in society and the plight of migrants and refugees.
Pharr is now working on a collaboration inspired by Womanhouse, the
1970s feminist installation and
performance space organized by Judy Chicago and Miriam Shapiro, with Atlanta artist Martha Whittington, another professor - mentor, and dancer Onur Topal.
They both possess a profoundly deep understanding of and research in literature and art history, including Renaissance old masters, modernism, conceptual and
performance art, and especially
feminist art of the 1960s -
1970s.
Overlooked in her discussion of Sherman is the recognition that her dressing - up, role - playing, selfie - photo schtick was already old when she revved it up in the late
1970s, and that, for some time, such pioneering
feminist artists as Martha Wilson, Martha Rosler, Suzy Lake and others had already been examining women's society - defined roles and images through photographic,
performance - based artistic projects.
Riley - Lopez, Erin Against our will: a selected history of
feminist performance from the
1970s to the present
A
feminist, activist and video and
performance pioneer, Ivekovic came of age in the early
1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings.
Before making her widely known and iconic
feminist work of the
1970s, 1980s, and beyond, Judy Chicago explored painting, sculpture, and environmental
performance, often using innovative industrial techniques and materials, including auto body painting and pyrotechnics.
These artists extend the scope of
feminist performances, body art, and videos from the
1970s.
Richard Saltoun opened his London gallery in in 2011, with a focus on post-war and contemporary art.The gallery emphasizes «important [but]... unrecognized» art, including
feminist, conceptual, and
performance artists who cut their teeth in the
1970s, like Valie Export, Eleanor Antin, and Helen Chadwick, among others.
In the curated gallery sections, Focus features presentations by galleries aged 12 years or younger; Live is a space for
performance and participation works; and new for 2017, Sex Work:
Feminist Art & Radical Politics showcases female artists working at the extreme edges of
feminist practice since the
1970s.
A uniquely interdisciplinary artist, Rose English emerged from the Conceptual art, dance and
feminist scenes of
1970s Britain to become one of the most influential
performance artists working today.