Sentences with phrase «women in the arts collection»

Drawing from the National Museum of Women in the Arts collection, this show features photography and video works by 17 artists focusing their camera on the female body as a vital medium for storytelling, expressing identity and reflecting individual and collective experience.

This display highlights works in The National Museum of Women in the Arts collection — the only international museum dedicated to the exhibition, preservation, and acquisition of works by women artists of all nationalities and periods - as part of the Whitechapel Gallery's programme of opening up rarely seen collections from around the world.

Not exact matches

The Brooklyn Museum has sparked outrage in the black community after tapping a white woman to curate its vast African art collection.

This 50s and 60s - inspired collection brings this iconic artist's whimsical Mid-century modern art to life in beautiful and timeless style for the modern woman.

She is currently working on books including 1000 Women in Horror, a book on art and intertextuality in giallo cinema, and co-editing a collection about the film work of Elaine May for Edinburgh University Press's ReFocus series.

There is no place in the hotel where art photography is not present, the collection gives the lead role to women that seem to be the rulers of the place.

The collection is particularly strong in art by women, with specific depth in work by Louise Bourgeois, Mona Hatoum, Nan Goldin, Doris Salcedo, and Cindy Sherman.

Today works by Rose Wylie are included in the public collections of Tate Britain, London; Walker Art Gallery, Liverpool; National Museum of Women in the Arts, Washington, DC; Arts Council of England; Contemporary Art Society, London; Hammer Collection, Los Angeles; Jerwood Foundation, London; the Norwich Gallery, Norwich; Städtische Galerie Wolfsburg, Wolfsburg.

1981 Amerikanische Malerei 1930 — 1980, Haus der Kunst, Munich (November 14, 1981 — January 31, 1982) Ciba - Geigy Collects: Aspects of Abstraction, Sewall Art Gallery, Rice University, Houston (September 8 — October 24) Art Américain: Oeuvres des collections du Musée national d'art moderns, Centre Georges Pompidou, Paris (September 2 — December 2) 45th Annual Mid-Year Show, Butler Institute of American Art, Youngstown, Ohio (June 28 — August 30) 26 Salon de Montrouge, Montrouge, France (spring) 37th Biennial Exhibition of Contemporary Painting: Frank Stella, Joan Mitchell, Richard Diebenkorn, Agnes Martin, Richard Serra, Corcoran Gallery of Art, Washington, D.C. (February 19 — April 5) 1980 The Originals: Women in Art, Graham Gallery, New York (January 15 — February 20)

Examples of Immi Storrs's work can be found in various private and public collections around the country, including the Albany Museum, Albany, Georgia; the Snite Museum, Notre Dame, Indiana; the National Academy Museum, New York; and the National Museum for Women in the Arts, Washington, D.C.

ARTnews magazine has devoted its June issue to a special report assessing the state of women in the art world — how women artists are faring in terms of solo museum exhibitions and representation in museum collections, gallery representation, press coverage and market valuation, and also measuring opportunities garnered by female curators and museum directors.

Alter had been assembling the collection since the 1980s after realizing that work by women artists was severely underrepresented in most art museums, and had intended from the start that the collection would one day go to a museum.

As Alter wrote in 2010, «My hope was to find a museum emphasizing inclusion and diversity, one working toward greater representation of art by women and artists of color in its permanent collection, exhibitions and outreach programs; where the art by women would be fully accessible to students, teachers, scholars and the general public; and where my collection would be enthusiastically welcomed because it embodied the institution's vision.»

Traveled to Musée Marmottan Monet, Paris (February 12 — May 11, 2008) Be — Bomb: The Transatlantic War of Images and all that Jazz in the 1950s, Museu d'Art Contemporani de Barcelona (MACBA), Spain (October 5, 2007 — January 7, 2008) Contemporary and Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, Connecticut (September 29, 2007 — January 6, 2008) Twentieth - Century American Women Artists from the Frances Lehman Loeb Art Center, Vassar College, Gallery at the Park Avenue Bank, New York, New York (September 17 — November 2) Americans in Paris: Abstract Painting in the Fifties, Tibor de Nagy Gallery, New York (July 16 — September 29) French Kiss, JGM Galerie, Paris, France (May 25 — July 13) When Art Worlds Collide: The 60s, Woodward Gallery, New York (May 17 — July 14) An Architect Collects: Robert D. Kleinschmidt and a Lifetime of Fine Arts Acquisitions, Krannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana - Champaign (April 20 — July 29) Gestes, Signes, Traces, Espaces: Figures de la peinture moderne française dans les collections publiques normandes, Musée d'art moderne André Malraux, Le Havre, France (February 17 — April 30).

For PAFA, Alter's gift of her Art by Women collection was unprecedented (in scope, theme, and size) in PAFA's history.

Her work is included in such museum collections as the Chicago Art Institute, the National Museum of Women in the Arts, The Brooklyn Museum, and the Corcoran Gallery of Art.

NEWS From the collection of Fisk University, FLORINE STETTHEIMER's «Asbury Park South» (1920) was on view in the exhibition «O'Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York» at the Portland Museum of Art in Maine (June 24 - Sept.

2011 Carolina Collects: 150 Years of Modern and Contemporary Art from Alumni Collections, Ackland Art Museum, University of North Carolina at Chapel Hill (September 9 — December 4) Points of View: Selections from Seven Colorado Collections, CU Art Museum, University of Colorado, Boulder (September 8 — December 17) Amerika - Europa: Bluhm, Kline, Motherwell, Dubuffet, Götz, Tàpies, Thomkins, Kunsthandel Wolfgang Werner, Berlin (September 7 — November 15) Abstract Expressionism and its Discontents, Annenberg Gallery, Pennsylvania, Academy of Fine Arts, Philadelphia (June 17 — August 28) The Women in Our Life: A Fifteen Year Anniversary Exhibition, Cheim & Read, New York (June 30 — September 9) Tibor de Nagy Gallery: Painters & Poets, Tibor de Nagy Gallery, New York (January 15 — March 5)

Biomorphic Forms in Sculpture,» Kunsthaus Graz, September 27, 2008 — January 11, 2009 «AURUM Gold in Contemporary Art,» curated by Dolores Denaro, CentrePasquArt, Biel, Switzerland, September 13 — November 30, 2008 «Red Wind,» Blum & Poe, Los Angeles, CA, June 28 — August 23, 2008 «Collecting Collections: Highlights from the Permanent Collection of the Museum of Contemporary Art, Los Angeles,» Museum of Contemporary Art, Los Angeles, Los Angeles, CA, February 9 — May 19 2007 «Celebrating the Lucelia Artist Award, 2001 - 2006,» Smithsonian American Art Museum, Washington, D.C., September 21, 2007 — June 22, 2008 «Makers and Modelers: Works in Ceramic,» Gladstone Gallery, New York, NY, September 8 — October 13, 2007 «Blood Meridan,» curated by David Hunt, Galerie Michael Janssen, Berlin, Germany, April 27 — May 26, 2007 «From Close to Home: Recent Acquisitions of Los Angeles Art,» Museum of Contemporary Art, Los Angeles, Los Angeles, CA, April 1 — July 2 «eight sculptors from los angeles,» sabine knust, Münich, Germany, March 22 — April 17, 2007 «Multiple Vantage Points: Southern California Women Artists, 1980 - 2006,» curated by Dextra Frankel, Los Angeles Municipal Gallery at Barnsdall, Los Angeles, CA, February 25 — April 15, 2007 «Fast Forward: Contemporary Collections for the Dallas Museum of Art,» Dallas Museum of Art, Dallas, Texas, February 11 — May 20, 2007; cat.

Conceived as a series of interrelated and rotating stand - alone exhibitions, this presentation will highlight major singular works from the collection, such as a newly acquired monumental cut - paper silhouette tableau by Kara Walker, as well as the Barbara Lee Collection of Art by Women, groupings of work by artists held in depth such as Louise Bourgeois and Nan Goldin, and thematic and art - historical groupinArt by Women, groupings of work by artists held in depth such as Louise Bourgeois and Nan Goldin, and thematic and art - historical groupinart - historical groupings.

Her works are in the collections of the Reykjavík Municipal Art Museum, Kjarvalstaðir, Iceland, the Hirschhorn Museum and Sculpture Garden, Smithsonian Institute, Washington, D.C., The National Museum of Women in the Arts, Washington, D.C. and the Portland Museum of Art, Maine.

Photography and video works drawn from the collection of the National Museum of Women in the Arts, Washington, D.C. go on display at the Whitechapel Gallery 18 January -16 April.

Last October, the women appeared at the San Jose Museum of Art to protest the dearth of women artists in the museum's collection and exhibitions.

«While we do not operate positive discrimination in relation to women artists Tate is keen to address areas where, historically, women artists may have been unduly neglected,» explains Ann Gallagher, Head of Collections (British Art).

Works by Il Lee are represented in major collections including the Metropolitan Museum of Art, New York; Leeum Samsung Museum of Art, Seoul; San Jose Museum of Art, CA; Vilcek Foundation, New York; Palm Springs Art Museum, CA; Société Bic, France; National Museum of Modern and Contemporary Art Korea; Total Museum, Seoul; Hong - Ik University, Seoul; and Duksung Women's University, Seoul.

GoMA has been researching and acquiring documentary media by influential female artists since 2007, increasing the representation of women working in this field within the city's collection and highlighting the contribution of female artists to contemporary art practice overall.

Last November, Georgia O'Keeffe's Jimson Weed / Flower No. 1 became the most expensive work by a female artist ever sold at auction, fetching $ 44.4 million (see Wall Flowers — women in historical art collections).

Similarly at the Tate, «We are actively trying to increase representation of women in the collection, across all periods,» says Ann Gallagher, «but there is naturally better representation for contemporary art.

Both spaces for temporary exhibitions draw on the permanent collection, as does a small alcove in modern art for work by women.

Statistics from 2012 reveal that 90 per cent of the visual artists featured in art books were men; work by women artists made up three to five per cent of major permanent collections in the US and Europe; artworks by female artists achieved none of the highest 100 auction prices; of The Art Newspaper's top 30 most visited exhibitions in New York, Paris, and London, only three were solo exhibitions featuring female artisart books were men; work by women artists made up three to five per cent of major permanent collections in the US and Europe; artworks by female artists achieved none of the highest 100 auction prices; of The Art Newspaper's top 30 most visited exhibitions in New York, Paris, and London, only three were solo exhibitions featuring female artisArt Newspaper's top 30 most visited exhibitions in New York, Paris, and London, only three were solo exhibitions featuring female artists.

Written in the first surge of the most significant feminist movement since the suffragettes, Nochlin's 1971 essay marked the beginning of an era in which public art institutions were challenged about the representation of women in their collections.

Edition number five of six from the bronze edition is in the collection of the National Museum of Women in the Arts, Washington D. C.

Among the museums where Chicago's work is in the permanent collections are the British Museum, the Brooklyn Museum of Art, the Getty Trust, the Los Angeles County Museum of Art, the National Gallery, the National Museum of Women in the Arts, the Pennsylvania Academy of Fine Arts, and the San Francisco Museum of Modern Art.

Women have also had central places in surveys of the 1970s quite apart from feminism — such as Jennifer Bartlett in the Broida collection, Benglis in «High Times, Hard Times,» and Marina Abramovic and Carolee Schneemann in one after another regurgitation of shock art at P.S. 1.

Inequality in almost every area of the art world was obvious: male artists dominated both historic collections and also exhibitions of contemporary art; women were excluded or absent from major art history books; almost all the staff in art institutions and universities were men; and work by female artists had less commercial value.

He began the first of these paintings, Woman I, collection: The Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished.

This year's programme includes exhibitions, collections and talks from Alicja Kwade, Guerrilla Girls, and the National Museum of Women in the Arts from Washington D.C, Emma Hart, Leonor Antunes, and Anthea Hamilton.

«Echoing Inka Essenhigh «s controversial use of unicorns and other fantasias in her recent work, Yuskavage has sunk her erotic smurfs into a lime green never - never land that veers a little too close to the juvenile tastes of Michael Jackson's Ranch Art collection,... read more... «Charlie Finch on Yusavage and Rothenberg: The not - so - innocent girl child vs. the older woman who has actually lived»

Data gathered from the Met's public collections in 1989 showed that women artists had produced less than 5 % of the works in the Modern Art Department, while 85 % of the nudes were female.

It ranges from the NMWA's women only collection and exhibition - programme to an entire wing of the Brooklyn Museum being dedicated to feminist art; there's also The Metropolitan Museum of Art's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artiart; there's also The Metropolitan Museum of Art's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artiArt's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artiart collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artist.

NO MAN»S LAND: WOMEN ARTISTS FROM THE RUBELL FAMILY COLLECTION National Museum of Women in the Arts, WashingtWOMEN ARTISTS FROM THE RUBELL FAMILY COLLECTION National Museum of Women in the Arts, WashingtWomen in the Arts, Washington DC

MoMA PS1 presents Modern Women: Single Channel, a group exhibition drawn from the collection of The Museum of Modern Art focusing on the work of eleven women artists in single - channel vWomen: Single Channel, a group exhibition drawn from the collection of The Museum of Modern Art focusing on the work of eleven women artists in single - channel vwomen artists in single - channel video.

The collection of the National Museum of Women in the Arts (NMWA), Washington, D.C., is rich in photography, a field in which women have been pioneers since the medium's inception in the nineteenth century. www.whitechapelgallery.org/exhibitions/terrains-of-the -Women in the Arts (NMWA), Washington, D.C., is rich in photography, a field in which women have been pioneers since the medium's inception in the nineteenth century. www.whitechapelgallery.org/exhibitions/terrains-of-the -women have been pioneers since the medium's inception in the nineteenth century. www.whitechapelgallery.org/exhibitions/terrains-of-the - body

The Whitechapel Gallery presents photography and video works from the collection of the National Museum of Women in the Arts, Washington, D.C., the only international museum dedicated to women artists, on display in spring Women in the Arts, Washington, D.C., the only international museum dedicated to women artists, on display in spring women artists, on display in spring 2017.

Announcing highlights from Whitechapel Gallery's Spring / Summer 2017 programme: A major retrospective of Eduardo Paolozzi; «Terrains of the Body», a display drawn from collection of the National Museum of Women in the Arts; plus archive displays, commissions and special events

Her work can be found in prominent collections throughout the United States, Europe, and Asia, including the Hammer Museum, Los Angeles; National Museum of Women in the Arts, Washington, D.C.; Space K, Seoul; Städtische Galerie Wolfsburg, Germany; and Tate Britain, London.

German Witch joins the ICA's important collection of art made by women, enriching the museum's strength in figurative works and expanding the holdings with a major work on paper.

Semmel's paintings are part of the permanent collections of the Art Institute of Chicago, IL; Brooklyn Museum, New York; Museum of Fine Arts, Houston, TX; Institute of Contemporary Art, Boston, MA; Blanton Museum of Art, Austin, TX; Orange County Museum of Art, CA; Chrysler Museum, Norfolk, VA; National Museum of Women in the Arts, Washington, DC; The Parrish Art Museum, Southampton, NY; the Jocelyn Art Museum, Omaha, NE; the Jewish Museum, New York; among others.

The Denver Art Museum now has eight new acquisitions and three promised gifts by women abstract expressionist artists in our collection.

The Whitechapel Gallery presents a display of photography and video works drawn from collection of the National Museum of Women in the Arts, Washington, D.C. Works by seventeen contemporary artists from five continents capture women on camera in domestic spaces and expansive landscWomen in the Arts, Washington, D.C. Works by seventeen contemporary artists from five continents capture women on camera in domestic spaces and expansive landscwomen on camera in domestic spaces and expansive landscapes.